Sushant Singh Rajput - Kai Po Che! - Page 62

Kai Po Che works because of its earnest and very talented cast, writes Aseem Chhabra.

We can blame Farhan Akhtar [ Images ] for it. Or maybe even thank him for starting the trend of male bonding in Hindi films with Dil Chahta Hai [ Images ], where each actor had practically equal time, although there was one big star, Aamir Khan [ Images ], among the three.

The idea was to look at male friendships in more or less real terms, have the characters speak, act, and live like normal people do, and to de-Bollywoodise a Bollywood film.

That trend continued in Farhan's home production Rock On!! (directed by Abhishek Kapoor), and to some extent in his sister Zoya's first feature, Luck By Chance [Images ], and then again in her second film, Zindagi Na Milegi Dobara.

Meanwhile, Chetan Bhagat [ Images ] -- that self-appointed, but hugely successful, observer of the lives and aspirations of middle class India [ Images ]n youth -- was writing his own tales of male bonding in modern India. His novel Five Point Someone became the immensely popular 3 Idiots, giving additional meaning to friendship among men.

And now we have one more case of the Indian male buddy movie inspired by another novel by Bhagat, The 3 Mistakes of My Life.

The author was so impressed by Kapoor's Rock On!! that he sent the filmmaker a copy of his book. Now a few years later, we have Kai Po Che, perhaps the first film in the genre, not to be entangled in the Bollywood star system.

Instead, the film uses keen and talented raw actors, who will not be judged by their star status as one would do with a Hritikh Roshan or Aamir Khan.

The result is that Kai Po Che is a very fine film, refreshing in its approach, as it is set in Ahmedabad [ Images ] and not among the elite of Mumbai [ Images ]. The film's stars Sushant Singh Rajput, Amit Sadh and Raj Kumar Yadav (he has had the most big screen exposure among the three in films such as Talaash, Shahid, Chittagong, LSD and Gangs of Wasseypur) appear to be very comfortable in the middle class settings.

By their own admission, Kapoor and Bhagat (the two co-wrote the script along with Pubali Chaudhuri and Supratik Sen) cut the novel to a minimum level, leaving out chunks of the book's narrative while focusing on the friendship of the three protagonists, and how their relationships are tested during the devastating earthquake in Gujarat in 2001, followed by the communal riots in 2002.

Bhagat has stated that Kapoor's film is much better than his book, an improvement over what he wrote. I have not read the book, but I have no reason to doubt him.

In the world that Kapoor creates we have three young men, who start with the goal of opening a cricket shop outside a temple, and also an academy for young teens. But their hopes and aspirations take different shapes.

Govind (Yadav), the quieter, and most balanced of the three, has the head for business and the store is his primary focus; Omi (Sadh), in seeking financial support for the shop, gets drawn into a Hindu political party led by his uncle; and Ishaan (Rajput), the most charismatic and impulsive, finds his faith in the sport of cricket and especially in a young Muslim prodigy, who he accidentally discovers.

Their commitments will pull them in different directions. But suffice is to say that there is a reason why Kai Po Che's English title is Brothers For Life.

A former actor, who struggled to find a footing in Bollywood, Abhishek Kapoor is in strong command in this small film (it is definitely smaller in its feel as compared to Rock On). He ably captures the details of connections between the three protagonists, some thrilling cricket moments, earthquakes scenes and the aftermath, and one very intense and believable moment of communal violence.

Unlike some loud, over-the-top scenes of Gujarat violence in Parzania, Kai Po Che projects the complex scenario in a believable and gripping manner. It is very difficult to stay real while handling violence of this nature. Mani Ratnam set the bar towards the second half of Bombay, but in a smaller way, Kapoor also succeeds in bringing the frightening reality of the Gujarat riots.

If Kapoor fails to a small extent, it has to be in his attempts to minimise the political tone of the film. And so, he deliberately gives the Hindu party a red flag and the Muslim group some form of a green one.

In trying to camouflage the political organisations, while still referring to real events -- the Godhra train killings, for instance --Kai Po Che somewhat confuses the situation. But then, as the past has shown, bringing up complex and ugly issues such as religious violence always riles up one group or another in India. Hopefully, that will not happen with Kai Po Che.

The film is beautifully shot and brightly lit by Anay Goswami (The Japanese Wife and No One Killed Jessica). Amit Trivedi's compositions set to the lyrics of Swanand Kirkire produce some memorable songs, especially Manja.

Ultimately, Kai Po Che works because of its earnest and very talented cast -- Yadav, Sadh and especially Rajput, who gives a new meaning to the expression, 'the idealism of the youth.'

Amrita Puri is very likable as Vidya, Ishaan's sister and Govind's love interest. Together, these actors have created a special film.

Rediff Rating:

Abhishek Kapoor's clarity of vision makes Kai Po Che -- the adaptation of a mediocre novel -- so irresistible, writes Sukanya Verma.

'Main Ambani ban jaata hoon. Omi ko CM bana denge. Chal, pehle rickshaw pakadte hain.'

Though spoken in jest, these words reveal a shrewd oxymoron of ambition and reality that characterises the zeal and anxiety of the youth. And to me, this stunning clarity and ease in director Abhishek Kapoor's voice is what makes this adaptation of a mediocre novel so irresistible.

I wouldn't call Kai Po Che an exact retelling of Chetan Bhagat [ Images ]'s The 3 Mistakes of My Life. Kapoor clearly recognises the strengths (and limitations) of this story as a motion picture and labours to compound an emotionality worth rooting for even if it means significant departure from the source. It's a beautiful risk. And it totally works.

Along with Pubali Chaudhari, Supratik Sen and Bhagat, he alters the book's populous contents to create a solid focal point and tell a cohesive tale of remarkable friendship set in Gujarat's largest city, Ahmedabad [ Images ], marked by three real-life events -- a propitious cricket match between India [ Images ] and Australia [ Images ], a natural calamity and communal riots.

How these experiences test their relationships and mould their conscience is documented through the vibrant highs and consuming lows of Kai Po Che.

Unaffected and free-flowing, the bond between Govind (Raj Kumar Yadav), Ishaan (Sushant Singh Rajput) and Omi (Amit Sadh) has such a 'lived-in' quality to it, there's no problem buying the film's 'brothers for life' tag line in a heartbeat. They talk very fast when communicating with each other, but this breathless incoherence (indicating informality and comfort) adds to their appeal.

Govind is the enterprising, cautious but reticent leader of the group. Omi, unlike the bright orange he sports, is subdued, susceptible and yet to come into his own. Though hotheaded and impulsive, Ishaan wins everyone over with his infectious smile and dynamism.

His overpowering desire to coach extraordinarily gifted local kid Ali (Digvijay Deshmukh) into a full-fledged batsman, Omi's political affiliations with his maternal uncle (a compelling Manav Kaul) and Govind's clandestine affair with Ishaan's impish kid sister, Vidya (a super cute Amrita Puri) advance steadily to converge into Kai Po Che's culminating point.

Because of the varying motives of these individuals, the screen is continuously buzzing with disparate moods. But Kapoor, like vehicle suspension, provides a stability and homogeny to these activities so as to identify with, not overwhelmed by this interconnect.

Govind, Omi and Ishaan are no Jai-Veeru in magnitude but the sincerity of their can-lay-my-life-for-you ardor is noteworthy. They jiggle to Chaalbaaz's Aaj Sunday hai toh daaru peene ka din hai, fool around shirtless at the picturesque Diu fort like those Rang De Basanti [ Images ] lads, enjoy the carefree breeze by climbing on top of a moving bus and --embrace and abuse both, without hesitation.

Quoting from Bollywood, impromptu excursions and taking each other for granted without guilt is the prerogative of buddy-dom and this wholehearted demonstration is radiantly captured in cinematographer Anay Goswamy's sun-soaked compositions. The combination of Swanand Kirkire's breathtaking lyricism and Amit Trivedi's exquisite melodies reiterates the troika's exuberance and idealism.

As typical to this genre, any celebration of brotherhood must be put on trial whether it's Dil Chahta Hai's [ Images ] Akash and Sid, Rock On!!'s Aditya and Joe, Middleearth's Frodo and Sam or, heck, even Shrek and Donkey. Kapoor doesn't have a novel situation in hand but his approach to it is.

The vibe of Kai Po Che is decidedly more down-to-earth and so he treats the truce with endearing spontaneity that is familiar to most hysterical cricket enthusiasts (that makes a LOT of us). Such a glorious moment! A heartfelt smile is the only immediate compliment I could offer.

Unlike most films that go overboard reminding us which region they are set in, Kapoor, thankfully, steers clear from thedhokla/fafda clichs (okay, so there's a passing mention of thepla/khakhra).

His characters, Govind in particular, speak with a slight, acceptable accent while the gorgeous Dandiya [ Images ] sequence plays on the opinion that a huge percentage of young couples get sexually active in the garb of festivities.

But the real task is not to offend sensibilities while filming a sensitive subject, like the Gujarat earthquake or riots and the terrible damage of life and property it resulted in. Kapoor depicts it powerfully (background score by Hitesh Sonik delivers here its best) but realises intelligently that any more drama would borderline on exploitation.

There's no attempt to make any political statements and most of the religion-driven hostility is implied not outright. Thought the pre-climax of this crisply-edited (Deepa Bhatia) drama does underscore the futility of blind blood thirst and aggression.

Turning a far-fetched plot into a probable one is laudable but Kai Po Che (It's a Gujarati phrase exclaimed by the one who succeeds in cutting off the competitor's kite) wouldn't achieve half of this without its dead-on casting (Bravo, Mukesh Chhabra).

The few films old Raj Kumar Yadav gets the tone of a soft-spoken go-getter, who's nervous around girls and diplomatic around clients just right. It's not a showy part. Playing reasonable seldom is. But Yadav's restraint does a marvelous job of balancing the trio's chemistry.

Amit Sadh shows his mettle through his metamorphosis from a secondary opinion to a furious figure. Often, the camera settles on his glimmering eyes to reveal a sensitive, complicated guy filled with a deep sense of guilt.

Finally, there's Sushant Singh Rajput as a 20-something father-figure to a boy he probably sees as a reflection of himself and wants to provide all the resources and support he never had. None of this subtext is ever mentioned. Like a seasoned actor, Rajput conveys it on his own. The young man has incredible energy but instead of blasting it out from all quarters, he patiently times it. The upshot is as graceful as Ali's sixers.

Rediff Rating:

Amit Sadh, Sushant Singh Rajput and Raj Kumar Yadav (Kai Po Che Movie Stills)

Kai Po Che' Tweet Review: First day, first show

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