PIKU Reviews and Boxoffice collections - Page 11

Pinkvilla Review

Starring: Amitabh Bachchan, Deepika Padukone, Irrfan Khan

Director: Shoojit Sircar

Writer: Juhi Chaturvedi

Music: Anupam Roy

Producers: MSM Motion Pictures, Saraswati Entertainment, Rising Sun Films

Sometimes, a journey becomes the destination. Piku is like that. Watching the film is like sitting across it's characters and being part of their dysfunctional but hilariously real lives. This slice of life film is fascinating, funny & bittersweet.

That the film weaves a realistic father- daughter relationship around the uncomfortable but core issue of daily bowel movements, tells you that it is more experiential than plot driven. But this experience is worth every bit of your time.

Piku' (Deepika Padukone) draws you in right from its opening credits- names that appear on a black screen underlaid to an Indian strings tune soothingly. We are introduced to an independent, single architect who has to balance career, home, relationships & a cranky, ageing father (Amitabh Bachchan). Her 70 plus father is a hypochondriac, obsessed with his constipation & imagined health worries; ministered upon by a family doctor (Raghuvir Yadav) and an acquiescing man Friday. In the mix is her Masi (mother's sister) played by Mousumi Chatterjee who constantly worries over Piku's single status. A liberated woman, Piku chooses to fulfill a physical need for a man, with her business partner (Jisshu Sengupta), who is also a friend. Her father, her Masi & Piku herself are opinionated naturally, as they are a Bengali family! Overwrought with pressures, Piku's short fuse has a regular casualty- the drivers of the cab service that she uses; don't want to work with her. And the owner of this company, Rana (Irrfan Khan) has to constantly play mediator.

A road trip brings together Piku, her father & Rana for quite some time in a compressed space- thus leading to romantic sparks between Piku & Rana; and hilarious analysis of constipation crises.

In it's essence, Piku is a family film that becomes both endearing & entertaining because of Amitabh Bachchan's eccentricities & Irrfan Khan & Deepika's effortless performance. It's the mix that works. But in its subtext, Piku is a poignant tale- of a responsible daughter who silently and patiently deals with her cranky, ageing father- because deep down she loves him dearly. She won't give up on him. It's a quintessentially Bengali flavored tale; or rather Eastern Indian story. Independent women who choose beyond a marriage are common in Eastern Indian cultures. At the same time, it is also a story that almost everyone can relate to.

Apart from a solidly written, nuanced story, this film's charm lies in it's stellar acting. While Mr Bachchan's Bengali accent & mannerisms at times are a bit over the top, the act comes together beautifully simply because his struggle with constipation is so convincing. Irrfan Khan, a magic arrow in a director's quiver, plays the amused regular Joe perfectly. And this is Deepika Padukone's finest performance so far. For most part of the film, she doesn't say much and lets her eyes do the talking. Her opinionated, sarcastic persona is very credible. In one scene, she decides against dating a guy for he hasn't watched a single Satyajit Ray film and doesn't vote! Just something you would expect from an independent, liberated woman. The ensemble cast- Mousumi Chatterjee, Raghuvir Yadav, Jisshu Sengupta- are completely natural in their performances.

A word for Shoojit Sircar's director & Juhi Chaturvedi's writing- in their fourth collaboration; in creating the effortless world of Piku, they have meticulously worked in their personal experiences & commonplace reality to create a family film beyond the bombast. Shot in real locations for the most part, Piku' resonates with your life.

Anupam Roy, the music composer who has made great impact in Bengali films, peppers the film with a soothing soundtrack. With it's use of Indian musical instruments, the songs remind you of Amol Palekar films & Hrishikesh Mukherjee classics.

As for Rana & Piku's chemistry onscreen, its believability is completely to the credit of Irrfan Khan & Deepika Padukone.

Give this road trip a chance, and laugh your heart out at a typical Indian family story.

Ticket Price Value: 85 Percent

DNA Review

Sircar places all his bets on establishing the relationship and the camaraderie between the father and daughter. And well, he turns up with probably the best film we've seen on this subject






Rating: ****1/2

Directed by: Shoojit Sircar

Starring: Amitabh Bachchan, Deepika Padukone, Irrfan Khan and Moushumi Chatterjee

WHAT'S IT ABOUT:

The new-age films coming out in Bollywood are expanding the parameters of commercial cinema. And in this process, some truly engaging and entertaining films are finding a universal audience. Shoojit Sircar's Piku is a fine example of the triumph of this process. Piku is the utterly endearing story of Bhaskor Banerjee (Amitabh Bachchan) and his daughter Piku (Deepika Padukone). Bhaskor is a 70-year-old man with myriad moods - his life philosophies are rigid and firm; he is rude and irritating to the point of being eccentric and obsessed with his bowels. Constipation is a subject he loves to discuss, even if it's on the breakfast and dinner table. Piku loves her father to death, despite all his imperfections. She's almost allergic to relationships because she's more concerned about taking care of her dad. And she is her father's daughter all right - she is nearly as temperamental as him. When Bhaskor and Piku decide to do a road trip from Delhi to Kolkata, the local car rental company's owner Rana Chaudhary (Irrfan Khan) has no option but to drive them himself after all his drivers refuse to suffer the ordeal. This journey becomes an emotional revelation for them all. As the rest of the film unravels, it focuses on the evolving relationships between the three protagonists and how it changes them all forms the crux of the story.

WHAT'S HOT:



Sircar's previous two outings, Vicky Donor and Madras Caf, received both commercial and critical acclaim. But Piku is, by far, his finest offering. It is an extremely difficult film to handle. There is no definitive storyline; there are no big surprises in the screenplay; there are no conflicts added for the sake to taking the story forward. Sircar places all his bets on establishing the relationship and the camaraderie between the father and daughter. And well, he turns up with probably the best film we've seen on this subject. Constipation, as a subject, is clearly not something that's easy to digest! But Sircar plays along with it; he makes you laugh with it; he lets you have fun with it. You become so much a part of Bhaskor and Piku's world that even the intermission seems like an unwanted break. Sircar strikes his masterstroke in the second half - where he makes you cry just as easily as he made you laugh. Piku is a film filled with all the emotions we face and experience in our daily lives - Sircar makes us wonder why we overlooked them all along. Sircar's other big achievement is making his already-fine actors deliver performances that would feature among their career-best. Deepika is an accomplished performer in her own right but with Piku, she raises the bar even more. Devoid of make-up in the entire film, the actress has never looked and acted better. She gets into the skin of Piku; her every action and reaction is so casual and yet so real. Irrfan Khan has never been utilised better - his dialogues are few but always with the right punches. He holds his own despite not having the author-backed parts. The heart and soul of Piku clearly belong to Amitabh Bachchan who is in his elements. His performance in Piku, without doubt, finds a place among the top 10 in his illustrious career. Be it his Bengali accent, his mannerisms, his rude demeanour or his one-liners, Bachchan is having a jolly good time. And when he does that, it's hard to keep your eyes on anyone else. And despite the requirements of his character, the pathos he brings to the role in even the subtlest scenes is remarkable. Sircar needs another pat on the back for the rest of the casting too (due credit to casting director Yogi as well) - Moushumi Chatterjee is delightful.

WHAT'S NOT:

A film like Piku is inventive and unconventional but mainstream. You wish there were some more drama in the second half to elevate it further. However, the performances are so tight that they overpower everything else.

WHAT TO DO:

Piku is one of the best films of the year. It's a must-watch for the thundering trio of Bachchan, Padukone and Khan

First Post Review

Piku review: Pretty meets potty in Deepika, Big B, Irrfan's charming new film

Piku begins with a reference to constipation, proceeds to indulge in poop-centric jokes and ends with a reference to a good, satisfying "motion". The last time Bollywood presented a film so fixated on the human digestive system was Delhi Belly. In Piku, however, it's potty humour, Bengali style. On one hand, it means the film has none of the crude bits that Abhinay Deo and Akshat Verma's north Indian caper did. It's graceful, elegant and never crass. It's also far more relentless in its focus. Delhi Belly was actually about misplaced diamonds, after all. Piku is all about potty, particularly Amitabh Bachchan's potty. And it " the film " is as wonderful, satisfying and fulfilling as a long-awaited, post-constipation dump.

From the Piku trailer, you might think you know what's going to happen in the film. Piku will be a beautiful, quirky young woman who lives with her father, Bhaskor. They'll adore each other, sing songs, possibly cut a birthday cake. Along the way, Piku will fall in love with someone (Irrfan), she'll be torn between father and lover for a bit, there will be a few tears and then everyone will live happily ever after. Exactly none of this happens in Piku.

Writer Juhi Chaturvedi and director Shoojit Sircar have done what no one thought Bollywood had the gumption to do: they've made a film that's entirely unpredictable. From character to plot, everything in Piku will take you by surprise. Everything other than Bachchan's inconsistent Bengali-accent, that is. But it's a minor flaw because Piku gets pretty much everything else right, and gloriously so.

Piku (Deepak Padukone) is an only child, who lives with her elderly, widowed father Bhaskor (Bachchan) in a bungalow in Chittaranjan Park. Inside, photos of Rabindranath Tagore, Sri Ramakrishna and Sarada Ma hang on on the walls. There are books, mosquito nets and lovely wooden furniture. It's beautiful and precisely what you expect of a Bengali home.

Deepika Padukone and Amitabh Bachchan in a promotional poster for Piku.
Deepika Padukone and Amitabh Bachchan in a promotional poster for Piku.

And that authenticity isn't limited to the decor. Bhaskor is a grumpy hypochondriac who thinks it's perfectly fine to call his daughter up when she's on a dinner date, to inform her that he's pooped and the consistency was like mango pulp. (That's taken care of summer for you aamras lovers, hasn't it?) She doesn't find it particularly odd either. Like most Bengalis, Piku has grown up with such detailed descriptions and analyses of digestive processes and discharge. It's a part of life, much like her father's other idiosyncrasies, like hiding the salt so that no one in the household gets "BP" (blood pressure).

Bhaskor is demanding, suspicious, whimsical, opinionated, sweet and a royal pain. In short, he's pretty much your favourite old uncle/ granddad. Bachchan gets that combination of an annoying but adorable personality perfectly. The only thing that doesn't ring true about his Bhaskor is the paunch that looks like a cushion's been stuffed under the kurta. But who cares about paunches, when Bachchan is, with supreme deadpan composure, discussing excrement and leaving you rolling with laughter?

Given lines that crackle with wit, Bachchan delivers them with the kind of flair that you expect from an actor like him. His comic timing is superb and his body language is just right. You realise how perfect his portrayal is because of the details " like when Bhaskor is listening closely, he has a fixed but open-mouthed, slack-jawed stare, as though he hasn't even realised that his jaw is hanging loose. Yet his eyes, magnified through the thick lenses, are unblinking and intense.

Matching Bachchan's Bhaskor stroke for stroke is Irrfan (who it appears has finally done the deed and dropped his surname) as Rana, a taxi company owner who ends up driving Piku and Bhaskor to Kolkata because on a whim, Bhaskor decides he'd like to visit the ancestral property. Rana's drivers can barely tolerate Piku's snarling company for 30 minutes, so all of them ditch when it's a cross-country road trip. That lands Rana behind the wheel and right in the middle of father and daughter sniping, singing duets and snoring.

Irrfan's fantastic performance is a reminder that a good actor isn't just someone who plays their own part well, but who complements fellow actors. Over the course of the trip to Kolkata, Rana develops a rapport with both Bhaskor and Piku, all thanks to a delightful combination of sparring. Bhaskor and Piku are both feisty, but Rana doesn't back down. He challenges, cajoles and charms. For instance, when he realises all Bhaskor cares about is his own bowel movement, Rana sets himself a personal goal: he will teach Bhaskor, who like a good Bengali has devoted his life to analysing his digestive processes, how to achieve the perfect motion. With a diagram and sound effects, if need be.

Wonderful as Bachchan, Irrfan and Sircar are as actors and director in this utterly charming film, the real stars of Piku are two women. Padukone as Piku delivers a performance that's honest, unaffected and guaranteed to pierce you. This same actor did films like Lafangey Parindey, and began her Bollywood career displaying about as much emotion as a block of wood. Over the years, Padukone has proved both her intelligence and her talent with the roles she's picked and the hard work she's put into her performances. With Piku, Padukone establishes herself as both an excellent actor as well as a star. It just goes to show what kind of talent can be showcased when the writing is good. She's riveting on screen, even when she's being screechy and unpleasant, and Piku is often screechy and unpleasant.

Padukone's Piku is not a heroine, but a very real person. She's not a nubile, pretty face. She's grown up, responsible and doing everything on her own " which means her patience runs thin and she's rarely Disney-princess-esque. Oh, and she's not a virgin. Not just that, her father knows it because she doesn't make a secret of her lover staying over.

The other star of Piku is Juhi Chaturvedi, who has written credible characters, charming scenes and terrific dialogue. Among Bollywood's many failings is its unwillingness to spend time on establishing relationships. Romance is achieved by a ballad, disappointment is established with a sad song, and so on. Chaturvedi doesn't take those short cuts. Her characters talk to each other and through their conversations " crazy and normal " they get to know each other, and we get to know them. Sircar is lucky to have such a talented collaborator and she's lucky to have a director who both trusts and realises her vision so well.

Chaturvedi's greatest talent is in her ability to tackle very complex themes in the chatter that abounds in Piku. There's the business of how difficult old age is, not just for the person ageing but those around them. Piku has to mother Bhaskor and find a balance between her needs and his, which isn't easy. Chaturvedi also picks up a few 'bold' themes. Piku's undramatic way of dealing with her sexual needs and separating sex from romance is in sharp contrast to how awfully Bollywood usually handles these topics.

More provocatively, Chaturvedi has Bhaskor standing as an obstacle to Piku's love life, but in a thoroughly unexpected yet believable way. He is heartwarmingly supportive of her career and he doesn't begrudge her casual sex, but Bhaskor doesn't want her to get married and scotches every possibility that he thinks could go in that direction. He claims he's anti-marriage for Piku because he doesn't want her to sacrifice herself to man, yet that's exactly what he wants her to do for me. The real reason Bhaskor wants Piku to stay single is that he doesn't want to lose her to another man. It's partly selfish and partly obsessive with an unsettling Oedipal whiff. Chaturvedi treats this very complex idea with magnificent subtlety and finesse, and without melodrama.

Perhaps most importantly, Chaturvedi never gets bogged down in seriousness. She successfully explores all these thought-provoking issues, but through sparkling conversations about bowel movements. Piku is great fun. It's filled with laughter and so much motion as well as emotion that you will want to watch it again the moment you come out. Just so that you can listen to the banter between Rana, Bhaskor and Piku.

NYDaily Review


'Piku" review: Bollywood film is pretty good, with Amitabh Bachchan, Deepika Padukone

BY Jordan Hoffman /

NEW YORK DAILY NEWS /

Thursday, May 7, 2015, 9:00 PM
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Deepika Padukone in "Piku"
Yash Raj Films

Deepika Padukone in "Piku"


Bhashkor Banerjee is constipated. Not just physically, but mentally. And his restricted temperament is affecting his entire extended family.

In "Piku," Bhashkor is played by septuagenarian Amitabh Bachchan, arguably the most respected elder statesman in Bollywood cinema. The character's a Larry David-esque noodge living with his exasperated, unmarried daughter, Piku, played by the gorgeous Deepika Padukone. She works at an architecture firm, but spends most of her time dealing with her hypochondriac dad. When an actual medical problem occurs, Bhashkor wants to go to Calcutta to visit relatives and see the house he grew up in.

Resistant to flying, father, daughter and an accompanying manservant hire a taxi to take the two-day drive from Delhi. The driver (Irrfan Khan of "Life of Pi") has long been locking horns with spitfire Piku, but on the trip the two make a real connection. His no-nonsense attitude helps alleviate some family issues. While the movie has far more toilet humor than you might expect, the locations and overall sweetness of the performances make "Piku" a good winding-road pick.

Piku guys got glowing reviews despite not taking whole of Indian media to Goa. LOL!

It is all so overwhelming.

I am too nervous to watch the film this weekend ..I will wait for a week.I need to love Piku as much as others have.

The only Deepika films I have liked on my first viewing are BKB and KCK..music is very important for me..the songs must work in the film..

Hindustan Times Review

Piku
Director: Shoojit Sircar
Cast: Amitabh Bachchan, Deepika Padukone, Irrfan Khan
Rating: 3.5/5

A father who introduces his 30-year-old daughter to her suitors as a "financially, emotionally and sexually independent, non-virgin woman" and a daughter who scolds her dad for his obsession with health and tells him it would have been better if he had some disease.

The dad is Amitabh Bachchan's Bhashkor Banerjee and Deepika Padukone essays the role of Piku, the daughter, in this Shoojit Sircar's directorial venture.

How does this eccentric father-daughter relationship unfold on screen? Let us explore.

In a rare reminder of Hrishikesh Mukherjee films, Piku is does not feel like a movie; it might as well have been a video recording of any family with an ageing parent and a single child taking care of him/her.

Piku presents a very realistic view of a typical Indian family. There is no cinematic aura, over-the-top idealistic relations and absolutely no preachy morals. The film harps on the simplicity of reality, gently tugging on your heartstrings.

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The film explores the relationship between an ageing parent and an independent single daughter.

The film explores the relationship between an old father and his daughter on whom he completely depends. Shoojit, who earlier gave us John Abraham-starrer Madras Caf (2013) and Ayushmann Khurrana-starrer Vicky Donor (2012), once again proves that an entertainer does not have to be larger-than-life and unrealistic.

The beauty of Piku lies not in the story but the way it is told. The film shows that mind-boggling stories are not essential to touch hearts on the silver screen. Piku's story is too simple - it does not offer shocks or surprises. Instead, it is one of those endearing narratives where the actors' performances and nuanced ways in which the director tells the tale overpower the predictable storyline.

Juhi Chaturvedi's warm and sweet screenplay ensures that everyone who lives with or has lived with ageing parents will identify with Deepika's character. It is irritating to deal with their tantrums and we keep scolding them, but the moment we see the smallest deterioration in health, we are ready to do anything to ensure that they are back to their childish ways.

Bhashkor (Amitabh) and Piku (Deepika) are Bengalis living in Delhi. While Bhashkor spends his days obsessing over his bowel movements, Piku is a wonderful multi-tasker who manages the whole household, works at an architecture office and also tries her best to maintain an active sexual life.

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Amitabh Bachchan ensures you will not forget this 'motion picture' in a hurry.

Rana Chaudhary (Irrfan) is the owner of a taxi service company that is reeling under the onslaught of Piku's arrogance. While several of his drivers have left because of her attitude, many have caused accidents when faced with her wrath. Situation puts Rana in the middle of Piku's family drama. While he is attracted to Piku, he is also aware how this caring woman can also be arrogant, rude and adamant. As he maintains his distance, Rana's interaction with Piku has a subtle, understated romantic tone.

Rana's character brings sanity to the eccentric lives of Piku and her dad, but not in a way that they would welcome. He is as much an outsider to this freaky family as the audience - a non-Bengali caught in the middle of a Bengali family so obsessed with their domestic problems that they involve him in their arguments and when he presents a rational viewpoint, they ask him not to interfere in 'family problems'.

He is shocked at the way Amitabh behaves with his caring daughter and is surprised at the daughter's arrogant behavior. During a road trip, as Irrfan drives them from Delhi to Kolkata, Amitabh sings a Bengali song 'Ei poth Jodi na shesh hoi' and asks Irrfan if he knows the meaning. After a small irrelevant chat, Irrfan is told the meaning: "What if this road doesn't end?" Irrfan, 'the Thakur from UP' tells Amitabh, "Aisa gaana gao jiska kaayde ka meaning ho."

Another refreshing thing about Piku is that it does not obsess about romantic relationships. Despite all the hullaballoo about the pairing of Deepika and Irrfan, the film has none of your clichd Bollywood romantic moments. Instead, the romance in Piku is real and endearing, mainly because it is subtle and understated.

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Irrfan and Deepika's 'real' romance adds depth to Piku.

Towards the end, Irrfan is about to leave Piku's family and Deepika wants him to stay because she finds his 'normal ways' rational. Not at a single point does she tell him that he should stay for her sake or that she needs him, she only hints that he is welcome. The sheer simplicity of the silence between the lead pair and their charming banter makes their romance identifiable.

Deepika Padukone proves yet again that she is perhaps one of the most dedicated lead actors the industry can boast of and one who does not disappoint with her bold choice of non-glamorous, refreshing roles. Her attitude in the film will in remind you of all your women friends who are independent, have a mind of their own and do not allow anyone to dictate their lives (that is, if you are not one yourself).

Amitabh Bachchan is endearing and real in his portrayal of a 70-year-old man, dependant on his daughter. However, in his bid to come across as the ageing man who turns progressively childish in his demeanour, Amitabh does sound a lot like Auro (his character from Paa).

now lets hope it gets a decent opening. good WOM will help movie sail thru!

A warm, charming and bittersweet family drama, Piku turns the genre completely on its head.

The result is a magnificently original film that delivers a memorably unique movie experience.

Coming from the man who crafted Vicky Donor, a quaint drama around the adventures of a sperm donor, and got away with it, this comedy about constipation is par for the course.

What is truly surprising, and impressive, is that director Shoojit Sircar puts just enough spin on this wild whimsy to keep it whirling engagingly over its running time of two hours and a bit.

He is aided, of course, by a remarkable cast of actors who plunge headlong, and with full conviction, into the film.

Piku gives the go-by to the usual trappings of Hindi cinema and offers a fresh and deliciously quirky take on a deeply layered father-daughter relationship that borders on the dysfunctional.

Piku is the story of a cranky old Bengali widower Bhaskor Banerji (Amitabh Bachchan) who subjugates his paternal instincts to the health, or the lack of it, of his alimentary canal.

The more trouble that the crotchety gentleman has clearing his bowels, the more difficult he becomes for everyone around him, including a harried maid who he summarily accuses of kleptomania.

Mr. Banerji has a formidable counterpoint is an equally strong-willed daughter, Piku (Deepika Padukone), a busy architect who, despite the challenges that her dad poses every waking hour, takes the man's frequent mood swings in her stride.

Caught between the two is a cab service owner Rana Chaudhary (Irrfan Khan) who, as the baffled outsider in the course of a road trip that threatens to run off the rails, gives both father and daughter perspectives that promise to deliver them from the stalemate they are trapped in.

On the face of it, there isn't much scope for overt conventional drama in this narrative construct in which most conversations veer around to the old man's daily potty trouble.

But the film is packed with humour, poignancy and occasional dashes of bathos, which ensure that all the shit-talk does not stink.

The two central characters of Piku are the kind of figures that one does not encounter all that often in Hindi cinema.

The dad is an unabashedly selfish man. He does not want his daughter to get married because he dreads the thought of being left alone.

At the same time, he is a father who has no qualms about declaring that Piku "is not a virgin" and "is financially and sexually independent".

This, too, stems from self-interest: he uses his daughter's emancipated state to ward off potential suitors.

But Mr. Banerji also genuinely believes that it is "low IQ" of a woman to get married and devote the rest of her life looking after her husband and his home.

That is something that his own wife, a former teacher at Kolkata's la Martiniere School, had done. He does not want Piku to end up like her mother.

Not that the latter needs any prodding to keep thoughts of marriage at bay. Piku is fiercely independent and the men in her life, including her business partner, Syed Afroze (Jisshu Sengupta), are mere adjuncts.

The possibility of Piku and Rana developing an emotional bond with each other on a Delhi-Kolkata road trip remains just that - a possibility that stops well short of culmination.
Piku is not a romantic comedy although it has an entire strand that could have yielded a full-blown love story. That it does not only adds to its richness.

The drama in Piku is subtle and low-key. Not much of it bubbles forth to the surface.

It courses gently through innocuous scenes of domestic discord, alternating between the absurd and the emotionally enriching.

The drama is inherent in the little moments of disagreement and the sudden, rare flashes of consonance between the two central characters, and between the duo and the extended family.

The insightful writing (screenplay and dialogues: Juhi Chaturvedi) and Sircar's deft directorial touches fill every frame and every scene with delicious irony.

Piku isn't only about a man and his toilet travails. It is also about ageing, filial responsibility and nostalgia for what is gone forever.

Yes, Piku is also about the inexorable passage of time, which impacts everything - individuals, families, cities, cultures and belief systems.

Amitabh Bachchan, whose performance is otherwise effortless, tends to overdo the Bengali diction bit. What is worse, he does not get it right all the time.

That apart, there are passages in the film where Bachchan's presence works against the understated tone of the film.

It is Deepika Padukone who holds Piku together with a restrained star turn. She is believable all the way.

A characteristically confident Irrfan is, as always, pitch perfect.
Bengali singer-songwriter-composer Anupam Roy's musical score (his first for a Hindi film) is outstanding, enhancing the film's delicate emotional texture.

Piku is an absolute must watch.

Piku Movie Review