Tags:
Journalism of Courage
CAST: Irrfan Khan, Shobhana, Dhruv Panjwani, Anupam Kher, Rajat Kapoor
DIRECTOR: Kaushik Roy
First-time director Kaushik Roy mines his own experiences with son Orko to bring alive the screen Buddhi, as well the larger, universal theme of all parents wanting a 8216;normal8217;, intelligent child. Adman turned filmmaker Roy lives that life, and he8217;s been able to transmit that essence into his story with sensitivity.
Some of the touches are superb: a neighbourhood shopkeeper trying to gyp Buddhi Dhruv Panjwani, the slights that even so-called educated people keep passing off as concern, and the constant attrition that wears down Ravi and Padmini 8212; he takes refuge in fictitious official meetings and alcoholic soliloquies; she treats Ravi with increasing disdain and anger.
Despite counsel to the contrary from the boy8217;s doctor Rajat Kapoor, she blames the father for Buddhi8217;s condition; he feels done against and helpless, something that Irrfan is so good at playing. The actors are all very good, including the untrained debutant Dhruv.
Post interval, though, when the slow learner turns into a raging genius, the film becomes disquieting. Through a disastrous side-effect of the medication, Buddhi loses his emotional moorings, and transforms into a self-absorbed, vicious teenager. It may well have been a plot twist keeping in mind commercial compulsions, but by giving it so much weight, the director runs the risk of equating the wish for a regular child 8216;going to a big-boys school8217;, with getting a dysfunctional out-of-control young person.
But the end, even if a trifle improbable, brings the film back on track. The old Buddhi returns, and this time the parents8217; joy is tempered by understanding, and appreciation, and acceptance. And that8217;s the strongest, sweetest take-away from Apna Aasmaan: it8217;s not about oh-god-this-is-my-lot resignation, but about loving living.
