Piku is one of the best releases this year in the UK. I laughed, fell in love, reflected on the faded grandeur of Calcutta and admired the writing, direction and central performances. The music by Anupam Roy wasn’t bad either.
The eponymous character is an attractive young woman (played by Deepika Padukone), a singleton of around 30 working in Delhi as a partner in an architectural design company. Her busy life is complicated by the demands placed on her by her 70 year-old widowed father, a hypochondriac constantly complaining about his constipation. When he demands a trip to Kolkota to visit the house he still owns (and where his brother still lives) Piku discovers that her reputation as an angry passenger has alienated all the taxi drivers in a local company. Father decides they must be driven to Kolkota (1500 miles away), so the taxi company boss (who has his own reasons for leaving Delhi) has to take the job himself. Since father is played by Amitabh Bachchan and the taxi boss by Irrfan Khan we are guaranteed an entertaining ride.
At this point I should point you to Omar Ahmed’s posting on the film. I’m indebted to Omar for several insights into how the film works. I’ll try not to repeat things he says and offer instead some extra points. I first came across the director-writer partnership of Shoojit Sircar and Juhi Chaturvedi when I watched and very much enjoyed Vicky Donor (India 2012). That film dealt with the social issue of sperm donation and the idea of ‘designer families’ and the impact on the sperm donor. It too employed comedy and featured a Bengali family brought to Delhi (Sircar is a Bengali). The effectiveness of that film derived from the acute observation of people in potentially embarrassing situations in which they are allowed to react naturally. This is a form of social comedy approached with genuine humanism and in Piku Sircar and Chaturvedi utilise the family melodrama and the road movie in constructing their comedy narrative. In doing so they create a narrative about a ‘real’ (upper) middle-class Indian family. ‘Real’ in contrast to the ways most families are depicted in mainstream Hindi cinema.
The film could be universal except for the one aspect of Indian middle-class culture that remains beyond my understanding. There is a fourth character in the car – a servant who acts as something like the old man’s ‘batman’. He rarely speaks and is largely ignored by the other three characters, except when he is needed. The careful attention to detail in the script is illustrated by a scene in which at the beginning of the car journey the servant climbs into the front passenger seat next to the driver. The driver refuses to move and apart from a few glances in the rear view mirror, nothing is said until Piku changes places with the servant. Rana, Irrfan Khan’s character is an educated man, a civil engineer who worked in Saudi Arabia before taking over the family business. He needs to assert his social status – important to him as he must grapple with Amitabh’s Bengali patriarch Bhaskor Banerjee. Later we learn that Rana has a Bengali family name (Chowdhury) even if he comes from Uttar Pradesh. This makes him at once potentially acceptable, but also inferior to Bhaskor. These nuances, as Omar suggests on his blog, point us towards the kinds of narratives explored by Satyajit Ray. Piku is a familiar Ray woman – introduced in the opening sequence by a full length poster of Ray. Later she dismisses a potential suitor because he does not appreciate Ray’s films.
Piku has been a big hit in India – and in South Asian diaspora communities overseas. The reviews still reveal a significant portion of detractors – many perhaps angry that there seems so little in the way of ‘plot’ and excitement with three major stars. The music is all used to support the narrative without disrupting it – there are no romance set pieces or choreographed dances etc. Only a bicycle ride through traditional Calcutta (reminding me of Ray’s Mahanagar at times) breaks away from norm. The pleasures in the film come from the script and the performances. In the UK a specialised film distributor was able to make a considerable killing with the ‘Indian Independent’ film The Lunchbox (India 2013) starring Irrfan Khan. Piku has been a success for Yash Raj in the UK (two Top 15 appearances in its first two weeks) but it won’t have been seen by the same audiences that enjoyed The Lunchbox. How to put these two audiences together is an intriguing question – but I wonder if either the Indian or UK distributors really want to try?
It’s somehow indicative of the lack of interest shown by Indian distributors towards audiences outside India and its diasporas that there are no subtitles on the trailers for most new releases (even though the films themselves are subtitled). This trailer over-emphasises the romance elements and the relationship between Piku and Rana is developed in understated and subtle ways.