Badhaai Ho (2018)

The Kaushiks live in a cramped old apartment in a colony overflowing with other lower middle class families. Priyamvada (Neena Gupta) runs the household and her husband Jeetu (Gajraj Rao) is a ticket inspector on the railways and sometime poet. They have two sons, 20-something Nakul (Ayushmann Khurrana) and stroppy teenager Gular (Shardul Rana), and Jeetu’s overbearing mother (Surekha Sikri). After a particularly trying evening, tired of keeping the peace, Priyam retires to her room. Jeetu reads his latest poem to try and sooth her hurt feelings. The poetry, the stormy night, the emotion…one thing leads to another. And 19 weeks later, the Kaushiks find out Priyam is pregnant.

When people find out about the pregnancy, reactions are varied to put it mildly. The GP and his wife are supportive of Priyamvada but give Jeetu the side eye as though to say he should have been more careful. The boys are just horrified that their parents still have sex, and are embarrassed by their degenerate behaviour. The mother-in-law goes full harpy mode and criticises Priyamvada, saying she is no better than she ought to be. And the gossip mill goes in to overdrive as news spreads.

Jeetu tells Priyamvada he’d prefer she had an abortion, but she won’t contemplate that option. He gently tries to make her see the downside, but says finally it’s her body so it should be her decision. Good man, Jeetu. I really enjoyed seeing an older couple as the focus of the story, and Neena Gupta and Gajraj Rao are wonderful. They are both conditioned to defer to their elders and maintain the peace. She looks elegantly middle aged, her face showing gentle lines and character. He is sweetly reticent, all business and stingy as hell on the surface but secretly romantic.

I loved a scene at a family wedding where he manoeuvred his way to be close to her in a photo, his face alight with booze and proud affection. The female relatives and wedding guests are less happy with the pregnancy and make free with their remarks, tormenting mild-mannered Priyamvada. Neena Gupta was quietly compelling but easily switched to perfectly timed comedic beats. Seeing Jeetu and Priyam navigate their way through a life changing surprise, their relationship, and all the reactions was highly engaging without being overly dramatic. It was disappointing when the film shifted focus to Nakul and his girlfriend as their relationship is one you see in every other film. I liked seeing the often invisible people get their time front and centre.

In the midst of all the talk of reproductive rights and safe sex, the male characters’ idea of masculinity rarely strays from the often toxic manly man stereotypes. Jeetu is in demand as a fertility coach among his peers, asked to counsel a troublesome nephew who remains childless despite two marriages. The nephew is introduced dancing enthusiastically to a Sridevi hit song as onlookers make snide comments. Gular is considered to be fine once he has beaten up a bully and asserted his masculinity. Nakul made fun of an impotent friend and hides lest he be on the receiving end. His jokes are funny, in a mean spirited and rehearsed way, but it is kind of telling that his friends are really frenemies. The men seem less supportive and rarely get real in their conversations with each other. The women bitch and bicker but ultimately they seem to get that family is what it is and in the end all they may have is each other. And bingo.

Ayushmann is delightful as the sooky, moody manchild Nakul who is the centre of the universe. His timing in the dialogues and his physical reactions are just about perfection, and when Nakul isn’t brooding he has a goofy energy that lights up the screen. But Nakul is an entitled dick and everything is about him. Everything. And although I was happy to see some character growth, I grew tired of the perfection of reformed Nakul, Best Son Ever. Even when the baby is born, he makes it about him. I just never really got why the boys were so horrible. Shocked, sure. But feeling betrayed – why!?! When the film detoured over to focus on him and Renee, I did lose some interest. On the upside he and Sanya Malhotra are great together and also do some excellent eyebrow choreo in the big production number, Morni Banke, that closes the film. I love an all-in end titles extravaganza!

Sanya Malhotra is charming but Renee is a little under-written, a standard issue modern girl. I liked that she has a career and that she straight up called Nakul out on some things. But when her supposedly progressive mother, played by the elegant and considered Sheeba Chaddha, criticises the Kaushiks and Nakul fires back, Renee breaks up with him. It seemed a bit convenient for the plot given her previous behaviour, but I didn’t care so much about that relationship. She has appealing looks and energy, and was a good match for Ayushmann.

Jeetu’s mum likes an orderly world where people pay attention to god and their elders, but she might not be as backward as she seems. Surekha Sikri is over the top as cantankerous Dadi at first, but when restraint was needed she wound it back nicely. Dadi helped demonstrate the strong familial love and support that helped the Kaushiks get through everything. Mostly by demanding maximum forbearance from everyone around her.

I was so relieved that Priyamvada is not simply fodder for tacky jokes, despite the dreadful poster designs. Writer Akshat Ghildial and director Amit Ravindernath Sharma deliver humour, pathos, social critique and a warm respect and affection for most of their characters. I like a good slice of life middle class social comedy and this delivers in spades. A great cast, a smart screenplay, and beautifully immersive visuals make this a delight to watch.

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