How Old Are You?

How Old Are You

How Old Are You? is a completely different film from the last Rosshan’s Andrew’s film I watched, Mumbai Police. Rather than a complex murder mystery, this is a small domestic drama that nonetheless deals with weighty topics such as empowerment and never losing sight of your dreams. It could easily have become preachy given the subject matter but writer duo Bobby-Sanjay keep it light and close enough to home, making it easy to relate to the main protagonist. The title is perhaps a little misleading, since it’s not really Nirupama’s age that’s the issue, but rather her routine life which is slowly grinding her down. The film is the comeback for Manju Warrier and like Sridevi in English Vinglish she brings experience, maturity and a little glamour to a role which seems to suit her very well.

Nirupama (Manju Warrier) is a government employee who isn’t at all engaged in her work. She has no empathy for her clients and secretly reads magazines before going home to look after her family. At the start of the film she is rejected for a job in Ireland due to her age (actually that would be illegal in Ireland – you cannot discriminate against someone due to their age) which means that she won’t be able to accompany her husband Rajeev (Kunchacko Boban) and daughter Lekshmi (Amrith Anil) in their move overseas. Rajeev is fairly unpleasant, but in a way that doesn’t stand out as being unusual or even abusive. He doesn’t notice when Nirupama has changed her hairstyle, and when it’s pointed out to him, he doesn’t like it. He expects his wife to be there and make his dinner, but also to be able to work and earn money during the day. To cap it all off, when he’s involved in a motor vehicle accident he persuades Nirupama to say she was driving to make sure it has no effect on his visa application. But apart from his chauvinistic attitude he’s not a difficult husband. Rajeev and Nirupama seem to have a good relationship and chat amicably about their daughter and their respective workdays without any acrimony. Basically it seems like any other relationship where the wife does what the husband wants because that’s just the way it is, nothing more and nothing less.

However the planned move overseas puts a strain on their relationship, and Lekshmi in particular is obnoxiously bratty about her mother’s failure to get a job in Ireland. One day Lekshmi is part of a group of school children who get to ask the Indian President some questions and so impresses the President that he asks about the origin of her question. When Lekshmi explains it was from her mother, the President (Siddartha Basu) requests a meeting with Nirupama. Unfortunately things don’t go well, and Nirupama finds herself being ridiculed on social media and teased by her work colleagues. This makes her relationship with Lekshmi even more difficult and it seems that no matter what she does, nothing will ever be right. Part of the reason why I feel the film resonates so well is that most people have been in a similar situation at some time in their lives. We’ve all done something stupid, or something we regret and at the time it seems as if there is no way out of the mess without further embarrassment or loss. At any rate, I could definitely relate to Nirupama and her feelings of inadequacy, along with her increasing need for reading glasses and her discovery of grey hairs!

Nirupama’s notoriety allows a former University classmate to track her down and Susan (Kanika) is dismayed by her friends humdrum life. She reminds Nirupama that she was a firebrand and activist at University with plenty of ambition and drive to succeed. Along with the absence of her family who have moved to Ireland as planned, Susan’s memories provide the motivation for Nirupama to kick-start her life. She stands up to her husband and makes a new career for herself – in the process allowing the film makers to add in some valid points about organic farming and the benefits of city food production.

There is a side story involving an older lady who gets the same bus as Nirupama each day. Although the two don’t really know each other, Nirupama helps Madhaviyamma (Sethulakshmi) when she is ill, and gets more out of the relationship than she expected. I would have liked there to be more of Madhaviyamma and her problems, but sadly most of her relationship with Nirupama is skipped over. Mainly the friendship is a plot device to allow Nirupama to realise that she is not the only one with difficulties, and that in fact her problems are rather trivial compared to those of Madhaviyamma. Madhaviyamma also provides the inspiration for Nirupama’s business venture but there is not enough of Sethulakshmi, who does a wonderful job with her role.

There are a number of other familiar faces who appear as part of the support cast, including Vinay Forrt, as one of the office workers, while Thesni Khan and Jayesh Pazhanimala are good as friends of Nirupama. Kanika only appears briefly as Susan, and it’s a strength of the film that Susan doesn’t change Nirupama’s life for her. Susan is after all more successful with plenty of connections and the ability to give Nirupama a new job or bail her out financially, but instead it’s Nirumpama who comes up with the idea that turns her life around. It’s all Nirupama’s dream, her vision and she is the one who sets to and organises everything. With a little help from Madhaviyamma and her boss Seetharama Iyer (Devan).

Although mainly the film is realistic in the portrayal of relationships and in the intimacies of Nirupama’s life, the plot is occasionally rather too fanciful. The episodes with the Indian President seem unlikely, although the fuss and security around the visit is plausible, and the whole Immigration plot is generally rather nonsensical. Nirupama also seems to turn her life around rather more easily than I expected. However, the basic idea of a woman caught in a rut of her own devising is one which appeals, particularly when the character is played so skilfully as here. I felt most of Nirupama’s reactions were accurate in portraying how an average person would behave in similar situations, and her ideas and new business venture seemed to fit her general persona. It’s always good to have such a powerful female figure as the lead in a film, and How Old Are You? has a strong message and excellent cast too. Well worth a watch for Manju Warrier, Sethulakshmi and the idea that you’re never too old to change your life. 4 stars.

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Mumbai Police (2013)

Mumbai Police

I’m a big fan of police procedural dramas and crime films in general, so naturally this 2013 film from Roshan Andrews made it onto my ‘must-watch’ list. And I’m happy to report that the film more than lived up to expectations, with a genuinely surprising ending and a good build-up of suspense along the way. It’s a difficult film to discuss without revealing crucial plot elements, particularly since those are partly what make this film so good, but I will do my best to discuss the film without getting too spoilerish.

The film starts with an accident that causes ACP Antony Moses (Prithviraj) to lose his memory. This is particularly inconvenient since he had just discovered the name of the criminal who had assassinated his friend ACP Aaryan John Jacob (Jayasurya) at an awards ceremony. Despite not remembering who he is, let alone anything of the crime, Police Commissioner Farhan Ashraf (Rahman) asks him to re-investigate the murder, presumably in an attempt to bring back Antony’s memory. Farhan is another friend and the tenuous link to the title of the film is that the three were collectively known as the Mumbai Police due to previous time spent together working in Mumabai. The friends had a reputation for drinking and carousing, particularly Antony who is now known by his nickname Rascal Moses, a label that seems to colour Antony’s reception by colleagues and suspects alike.

Antony has also been instructed not to let anyone know that he has lost his memory and as a result he makes a number of crucial errors in his first days back on the case. Not all of these relate to the investigation, such as his failure to recognise the Superintendent of Police, but he falters in his interactions with the rest of the investigating team who seem to suspect that something isn’t quite right.

Roshan Andrews uses flashbacks to the original investigation to show that pre- and post-accident Antony are two quite different people. Pre-accident Antony wasn’t a particularly nice character as he wasn’t averse to using force and various other dubious tactics to achieve his desired outcome. Post-accident Antony is quieter, more introspective, and seems to be genuinely interested in finding the actual culprit for his friend’s assassination rather than the first available scapegoat. Prithviraj does a great job of highlighting the differences by completely changing the physical mannerisms of the two Antony’s; changing his walk, stance and mannerisms to accentuate the difference. He’s helped by the physical signs of the accident but there is a distinct personality change too which makes Antony a fascinating character.  I kept waiting for a moment where he would remember his former life and revert back to mean and nasty, however post -accident Antony is quieter and more introspective, and seems constantly bemused as he struggles to come to grips with his memory loss. The reactions of Antony’s colleagues, particularly police constable Rakkhee (Aparna Nair), are used to provide more insight into his character both pre- and post-memory loss while Antony’s complete lack of emotion about his best friend’s death post-accident provides a good contrast to his passion and fire before he lost his memory. The greater objectivity should be a boon but instead seems to make Antony even more unsure of how to proceed and his colleagues find his lack of empathy odd. Antony has no recollection of his friendship with Aaryan and only knows that such a relationship existed because he has been told about it by Farhan. In fact, everything Antony currently knows about anything has come from Farhan and this leaves Antony suspicious and unsure of exactly what to believe – particularly when the evidence starts to point to a cover-up. It’s cleverly written to ensure that the audience really doesn’t know who to believe and who is covering for who, which further adds to the suspense and classic whodunnit flavour of the film.

Antony’s self-discovery proceeds in line with the police investigation and piece-by-piece the story is slowly revealed. There is an interesting side plot that involves tensions between the navy and the police force but overall writers Bobby and Sanjay keep to a fairly simple storyline focusing on the friendship between the three men and the investigation into the murder.

Just as the careful detailing of the investigation helps build tension, the sudden reveal of the killer and the reasons behind the murder make it even more surprising, even though re-watching shows that the clues were there all along. But then that’s just as they should be in any good detective story, and the smoke screen raised by the myriad other discoveries of the investigation is cleverly applied. The only thing that didn’t quite ring true for me was Antony’s reaction, which was just too overdone and rather too ingenuous to be convincing. However it’s a small quibble and the rest of the story more than makes up for Antony’s unrealistic response.

Technically the film looks fantastic and the background score by Gopi Sunder is effective in maintaining the desired atmosphere throughout. The performances are all well nuanced, as would be expected from such seasoned actors, but each has been well cast and fits their role perfectly. Mumbai Police is an engaging thriller which works mainly due to the gradual buildup of tension which flourishes due to Antony’s memory loss, and the ever present threat that the other shoe will drop and either the killer will come after Antony, or he will regain his memory and revert back to his old self.  Does either happen? You will need to watch to find out!

The film is entertaining for all the right reasons as Antony struggles to find both his past and the killer against a background of confusion and loss.  The ideal of the final revelation and the ultimate reason behind Aaryan’s death is excellent even if it is a little far-fetched, and the execution could have perhaps been a little better. It’s still a clever and honestly shocking conclusion.   I found Mumbai Police to be a slick, well-packaged and modern thriller that’s definitely well worth a watch for both the storyline and the actors who emphatically bring their roles to life. And you can’t ask for much better than that. 4½ stars.