Ek Ladki Ko Dekha to Aisa Laga review thread - Page 9

Priyanka Sinha Jha | News18.com

Mike McCahill

Sat 2 Feb 2019 08.00 GMTLast modified on Sat 2 Feb 2019 08.02 GMT

Cast: Sonam Kapoor, Anil Kapoor, Juhi Chawla, Rajkummar Rao, Akshay Oberoi, Regina Cassandra
Director: Shelly Chopra Dhar
Rating: 4 Stars (out of 5)

The first mainstream Hindi film that, somewhat tremulously, broaches the theme of same-sex love, Ek Ladki Ko Dekha Toh Aisa Laga is easy to relate to and grasp despite, or may be owing to, its essentially sanitised veneer. It sails to uncharted parts and travels miles, but it does so without rocking the boat too violently. In the end, it is a sensitive, tender and humour-laced melodrama that hinges as much on the relationship between a lonely, misunderstood small-town Punjab girl and her doting father as on the heroine's sexual orientation, which drives her into a difficult-to-break shell.

Screenwriter Gazal Dhaliwal (who has also penned the eminently relatable dialogue) and director and co-writer Shelly Chopra Dhar impart a genteel amiability to the tale, which springs its surprises without seeming to be overly radical in its portrayal of gender identity and homosexuality. Notions like bimari (disease), normality and family honour are invoked repeatedly and in no uncertain terms, and a woman's inner turmoil as she fights for the right to lead her life on her own terms is treated with restraint and empathy. The film's even tone is enhanced by the restrained performances from the key members of the fantastic ensemble cast.

Ek Ladki Ko Dekha To Aisa Laga Movie Review: A still from the film. (Image courtesy: Instagram)

The quality of the writing is best exemplified not only by the manner in which Ek Ladki Ko Dekha... pricks the ingrained biases of the female protagonist's family, articulated primarily by the fulminations of an overly aggressive elder brother (played with remarkable elan by Abhishek Duhan), but also by the incrementally positive effect that the unfolding story has on the audience.

When the heroine comes out - first with a question (Zaroori hai kya mujhe ek munde se hi pyar ho?) and then with a firm statement (Main ek ladki se pyaar karti hoon. Period.) - the unsuspecting man who is besotted with her breaks into drunken laughter. One presumes even the audience does just that, if not audibly. The lover is quick to regret his unthinking reaction. The audience takes a little longer to warm up to the girl's struggles but does begin to see (well before the climax) the point that the film is making.

Trailer 2 Ek Ladki Ko Dekha To Aisa Laga Movie Review: A still from the film. (Image courtesy: YouTube)

Struggling playwright Saahil Mirza (Rajkummar Rao), the prodigal son of a film producer who mocks him for straying into the unstable world of theatre, follows his muse, Sweety Chaudhary (Sonam K Ahuja), from Delhi to Punjab's Moga town and runs into her orthodox businessman-dad (Anil Kapoor) and his family and a 'secret' that upsets all his plans. A play-within-a film device brings to the fore long-suppressed realities and forces the family, nay the entire town, to confront its prejudices.

Anil Kapoor, as always, gets completely into the swing of things and livens up the film with his presence. Sonam, well served by the angularities of a screen persona that keeps cockiness at bay, projects a convincing combination of vulnerability and assertion in a way that only she can. Rajkummar Rao is as impressively pitch-perfect as ever. It takes a truly confident actor to resist the urge to chew up the scenes he is in and instead subsume himself completely in the essence of the film. Juhi Chawla is an absolute delight, a radiantly charming scene-stealer.

Ek Ladki Ko Dekha To Aisa Laga Movie Review: A still from the film. (Image courtesy: YouTube)

In fact, each of the major characters in the film benefits from perfect casting. Seema Pahwa, as the woman in charge of the Chaudhary family kitchen, and Brijendra Kala, playing the nosey household factotum, offer wonderful comic relief, as does Madhumalti Kapoor in the role of the matriarch who has a hard time keeping her widower-son, a garments factory owner who still rues not having realised his dream of making it big as a chef, away from the kitchen and cookery shows.

Ek Ladki Ko Dekha To Aisa Laga Movie Review: A still from the film. (Image courtesy: YouTube)

Thwarted aspirations are at the heart of this story and it isn't only Sweety whose life is soured. The character essayed by Juhi Chawla, a small-time Delhi caterer who supplies food to a theatre troupe, nurtures the hope of one day becoming what she has always wanted to be - an actress. In these little tales woven around the larger pivotal one of a girl desperate to be understood and accepted for what she is, the screenplay pulls into its fold an overarching truth that stares us in the face: we are all 'different' and need the space to become who we desire to be.

In the context of a commercial filmmaking tradition that has usually been appallingly uncaring of LGBTQ sensibilities, Ek Ladki Ko Dekha... is a whiff of fresh air, a huge leap forward from 2008's Dostana. It does not seek to derive mirth and frivolity from the theme, offering instead an earnest, unapologetic depiction of the act of coming out in a conservative society.

The story is simple enough and is told in a manner that could be faulted for being overly chaste - the same-sex lovers embrace a few times but they do not as much as plant a kiss on each other's cheeks, let alone lips - but the film achieves something far bigger than a Bollywood crowd-pleaser can. Ek Ladki Ko Dekha Toh Aisa Laga is a significant film because of its provenance (it comes from Vidhu Vinod Chopra's production stable) and also because of the support of Bollywood actors who've dared. The warmth and wry wit that the film is couched in makes it that much better.

Ek Ladki Ko Dekha... goads the audience to think differently without trying to deviate from its primary purpose, which is to deliver entertainment. It does the latter well enough and yet does not overly dilute its off-kilter vision. No mean feat that.

Ek Ladki Ko Dekha Toh Aisa Laga
Director: Shelly Chopra Dhar
Cast:Anil Kapoor, Sonam Kapoor, Rajkummar Rao, Juhi Chawla
Rating: 3.5/5

The grandmother's name is Gifty. Played memorably by Madhumalti Kapoor, this Mrs Chaudhury is quite the package: a film-loving matriarch who orders her son out of the kitchen, and tucks all objects of importance inside her cavernous blouse. The name exhibits an obvious mindset, one where women of the house are considered presents and trophies, objects of adornment as opposed to action. When Gifty's son wants to marry off his daughter named Sweety his wishlist for a groom includes the word gundeya,' to imply toughness, as he wants a man who can take care of his girl.

Sweety has other ideas.

Watch Ek Ladki Ko Dekha Toh Aisa Laga trailer:

Directed by debutant Shelley Chopra Dhar and co-written by her and Gazal Dhaliwal, Ek Ladki Ko Dekha Toh Aisa Laga is a progressive drama that intentionally binds itself within mainstream convention. It looks like yet another Punjab-based comedy about big weddings and eligible girls, but the trappings have been kept in place to comfort an easily offended audience while selling them on the big idea of accepting a same-sex relationship.

As you may imagine, this is an uphill climb in a country where homosexuality was decriminalised only last year, and is still widely regarded an aberration. This film's syntax, however, is anything but radical. Instead, so preoccupied is this film with masala that the heroine's father is intoxicated by the scent of kasoori methi.

Balbir Choudhury, an affluent manufacturer of undergarments, is called the Mukesh Ambani of Moga,' a small Punjabi town. He's played by Anil Kapoor, the actor who unforgettably lost his head twenty five years ago, to the song giving this film its name. His daughter Sonam plays his on-screen child, Sweety, repurposing that great RD Burman song to remind us that it isn't only boys who fall for girls.

The start is straightforward. It is hinted Sweety has a secret lover, with speculation that this might be a Muslim man, which would predictably lead to consternation. Here enters unsuccessful young playwright, Sahil Mirza, optimistically imagining himself to be the rumoured paramour. This is all shadow-boxing, first revealed through a clumsy childhood flashback and later by a pained Sweety herself, who tells Sahil about her lover. The film takes too long to get here, especially since you see the swerve coming. Only after the truth is out begins the true drama featuring the staging of a drama, no less and this is done with sensitivity and empathy, an ode to those who feel like others.

There is much self-awareness on display. The first song is the frequently remixed and overplayed Gur Nalon Ishq Mitha, and it's a smart move to show a family letting their hair down to a song they and we would know. When Sahil casts a play with the Moga residents, he asks Balbir to play Sweety's father, justifying it as a "real father-daughter connection. The film itself adheres strictly to Hindi film tropes, from longing glimpses between Anil and the ever-entertaining Juhi Chawla, right down to a Babuji-Simran go for it' endorsement straight out of Dilwale Dulhaniya Le Jaayenge.

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Anil Kapoor is in top form as the father challenged by extreme unfamiliarity, clearly marking his plight and his pain. He is never the cruel-dad clich of yore, but finds his daughter's lesbianism hard to swallow which may be the reason he keeps drinking water. The dependable Rajkummar Rao is suitably over-the-top as the filmi' writer trying to be arty (and failing), both as person and artist. Juhi Chawla, playing an enthusiastic and talentless actress a proud graduate of the plausibly named Amarinder Singh School Of Acting And Emotion' is wonderfully warm.

Sonam Kapoor brings anguish to the lead role of Sweety, but there isn't much personality to the part we never get to see what she's like, or even what she likes. Then again, this could be an attempt to universalise the character so people can identify more readily with this simple, sad girl. The bright-eyed object of her affections, Kuhu, played by Regina Cassandra, remains even more of a cipher.

This may be considered a film about the way parents love their children. Sahil's mother reaches out to him via long-distance video calls perhaps because its harder to fake a brave face while looking someone in the eye. She also gives the writer sterling advice: that to write one's own truth.

Ek Ladki Ko Dekhi Toh Aisa Laga concedes that entertainment can only go so far, and that bigots will be bigots. When Sweety performs in Sahil's play, we watch disgusted, intolerant audiences get up and leave. Yet I was struck by the image of an old man, sobbing as he leans on the empty bench in front of him, reserved for VIPs who have left. There will indeed be plenty who leave their seats unconvinced, but this film will make several people wonder many of whom may never have considered the question. This could certainly have been a bolder, more explicit film, but sometimes cinema should work like a street play. Sometimes we need to preach beyond the choir.