Director: Anurag Basu
Cast: Ranbir Kapoor, Priyanka Chopra, Ileana D’Cruz, Saurabh Shukla
Storyline: A carefree, spirited young man with a hearing and speech disability has to kidnap his childhood friend, an autistic girl, for an emergency.
Bottomline: The sunny, summery anti-thesis to the wintry, bleak ‘Black’
It’s tough not to draw parallels between Black and Barfi! with so many striking resemblances, overlapping of themes and equally emotional popular response.
Yet, they are at the opposite ends of the spectrum, despite their distinctively different European treatment.
If Bhansali and Ravi K Chandran chose to paint their canvas in shades of gothic black, Basu and Ravivarman bathe their film with beatific light.
If Black tried to make you cry, this one tries to make you laugh.
If Black chose to focus on characters trying to overcome their disability, Barfi! chooses to focus on the characters ability to see the world differently.
If Black was about a character battling old-age and schizophrenia and another coming of age, Barfi! is about the return to innocence as the lead characters celebrate their ‘disabilities’.
While Barfi (Ranbir) has the ability to put a smile on your face though he can’t talk or hear himself, autistic Jhilmil (Priyanka Chopra) sees the world through the wide-eyed innocence of a child.
They are not trying to compete in this world or trying hard to prove a point like characters in Black. They are happy living a life together, far away from the madness of materialism of today. Remember the seventies when songs about life used to be about how life was a song? Barfi! totally milks music for old-world charm.
It’s the Ranbir Kapoor show all the way as Barfi makes you smile and applaud with his antics without needing a single line of dialogue. It’s a fitting tribute to Charlie Chaplin and his own grandfather Raj Kapoor, the original Indian tramp and he proves once again that he’s the best actor of his generation.
Priyanka too is just wonderfully restrained for most parts. However, the best portions of the film do not belong to their story. Their scenes together look blatantly cutesy and manufactured.
Almost like Basu wants to say: “Look how much spirit these two happily disabled characters have. Please smile for them, they don’t need your tears.”
Though a far cry away from Bhansali’s “Look how much spirit these two characters have to fight their disability. Shed a tear for their struggle and triumph,” Barfi! gets problematic by reminding us of their disability all the time – even if it’s for laughs.
Why do filmmakers need to treat disability like a show-pony irrespective of whether they want to make you laugh or cry? Barfi is the other side of Black. Equally manipulative. Which is why Iqbal despite its budgetary constraints seems like a more honest film – it makes you completely forget that Iqbal cannot talk or hear.
Even if you are to overlook the plot contrivances here (don’t you just hate it when characters are bumped off conveniently to get the story moving forward?) and the desperate efforts to manufacture conflict of an epic scale, there’s that leisurely pace that might discourage repeat viewings.
The first hour of the film is picture perfect, especially, the scenes with Ranbir charming Ileana and their relationship. This is Anurag Basu’s finest hour with the visual medium. He shines with his craft, using non-verbal communication, flawless physical comedy, superbly employed metaphors and leitmotifs to a fetchingly French background score by Pritam that is really the soul of the film.
And then, one of the biggest cliches of Indian cinema (the hero needs money for the kidney operation of a loved one) kicks in a convoluted plot of kidnapping and needless suspense to make up for conflict.
Still, there’s a lot to love in this “Adventures of the Happily Disabled” once you buy into the platonic Barfi-Jhilmil relationship. It just doesn’t seem right when it turns into a love triangle because clearly one of them is still a kid at heart.
Which brings us to the film’s biggest strength at the box office – it’s family friendly. Pretty much every member of your family is probably going to love this film and many will swear it’s the best film of the year.
Strange that many looked down upon Basu’s last film ‘Kites’ though it was just an adult version of the same story: Love knows no language and it happens when two people are on the run. If Barfi channels Chaplin and French cinema, Kites paid homage to Tarantino and Rodriguez.
Barfi is a safe bet. Populist, instantly likeable, charming and unfortunately, a tad too light.
No mention of Illeana?
nice review sudhish
Excellent review sudhish
Well, I read your review of Kamaal Dhamaal Malamaal and I find it unfortunate that you consider it as representative of what Malayalam cinema has to offer. I find it even embarrassing that you consider ‘Barfi’ a tribute to Chaplin. You cannot call a film that copies frame-by-frame the gags by the silent comic as ‘tribute’. Why does it irk you when a South Indian director makes a copy of another movie but sing praises when a ‘Bollywood’ director shamelessly does the same? Priyadarshan at least changed the camera position. In fact, ‘Barfi’ is strung together from several rip-offs of the movies of Chaplin, Keaton, Jackie Chan and a movie called The Notebook. I would believe there is some North-South prejudice at work here.
While I do agree that there have been some worthwhile efforts in Hindi cinema in recent years, It is not fair to brush off the efforts of the regional industries. Malayalam cinema in the mid 80’s through the 90’s was far ahead of anything the Hindi cinema had ever accomplished.
Somehow i was reminded of Moondram Pirai more !!!!
I haven’t thought this film through. That is because I happened to see the trailer of what appears to be a redux of Namak Haraam: Chakravyuh. If it is indeed NH, it will be interesting to see Abhay Deol play Rajesh Khanna, Om Puri as AK Hangal and Arjun Ramphal as Bachchan. The factories are all gone and so have the unions. The setting therrefore had to be the peasant struggle over land. You may have to watch it before it is banned.
I was also hoping to get your review of English Vinglish, which I found to be a very entertaining film that is also deeply conformist and regressive once the layers.start peeling off. Sridevi’s attempt to learn English is so hegemonic that it reminds of the dark days of Mind your Language that was deservedly panned by the progressives.
Understandably, I find it difficult to accept what you have said about the film in Hindu.