Bittoo Boss – Movie Review
Posted by FATEMA H.KAGALWALA on April 13, 2012 | No Comments
PRODUCER – Kumar Mangat Pathak, Abhishek Pathak
DIRECTOR – Supavitra Babul
WRITER – Supavitra Babul (Story), Gautam Mehra (Screenplay)
CAST – Pulkit Samrat, Amita Pathak
MUSIC – Raghav Sachar
It’s the story of a videographer. As his visiting card tellingly says, ‘V.D.O shooter’, he is your small-town boy-next-door, the typical smarty pants who wears his heart on his sleeve but has a spine straighter than a rod. His language smells of earth and mannerisms are rustic. But he is town’s favourite videographer and loves it that way. Fortunately for us, Pulkit, the actor’s endearing persona and smooth acting never lets us complain either.
Sashays Mrinalini (Amita Pathak) into his life and Bittoo falls head over heels in love. Until a bitter argument has them part ways. At a challenging crossroad, Bittoo decides to compromise on the same values he had fought Mrinalini with. But is it downhill all the way for him from here? And even if not, what about the love he just swore his life to?
The film is structured more like a series of events than a cohesive story with a central idea or plot. At once, it combines a coming-of-age character growth with a boy-gets-the-girl romantic challenge while also showing us vignettes of contemporary relationships. It is in those moments of tests that the real Bittoo comes to light and Pulkit’s even acting sees it through effortlessly. It is also in these vignettes that the director’s talent for story-telling shines. He is in touch with how everyday people behave, what are our complexities and insecurities and what, if anything, binds all of us all.
But Bittoo has to go back and claim his love and so he does. Unfortunately, by now we care less about his love life than his own journey. The initial lover’s spat is resolved with time but Mrinalini discovers Bittoo’s new business and walks away in disgust. Bittoo then writes his own script for the wedding film of his own life in a climax that gets far less attention or love than the entire film.
The film probably works because of the relatively fresh faces in the lead. Pulkit Samrat, well-known to the TV viewing junta, puts in a lot of heart and joi-de-vivre in his performance that is charming. Amita Pathak, producer Kumar Mangat’s daughter in her second outing after the dismal Haal-e-dil, performs with conviction but a lack of screen presence and personality relegates her to the background.
Raghav Sachar’s music tries to provide a distinct flavor but falls in the heap of oft-heard rhythms that belong to no particular place except Bollywood.
The film has an uneven feel with a pace that’s either too slow or too hurried, scenes that are too explained or not. However, the small-town Punjab he serves up with its dialect, slang, mannerisms and minor characters that are stereotyped and unmemorable yet real, coupled with the performance he gets out of his lead makes it a film well-worth it at all.