Fatso – Movie Review
Posted by FATEMA H.KAGALWALA on May 4, 2012 | No Comments
PRODUCER – Pritish Nandy, Rangita Nandy
DIRECTOR – Rajat Kapoor
WRITER – Rajat Kapoor, Saurabh Shukla
CAST – Ranvir Shorey, Gul Panag, Purab Kohli, Neil Bhoopalam, Gunjan Bakshi
MUSIC – Sagar Desai
The flux of the class-divided world we live in, probably has had the most impact on urban relationships. Its attendant problems of peer pressure, importance of physical beauty, shifting friendships, concepts of loyalty and commitment weigh heavily on love. It is the unchanging nature of love itself that brings the constancy on the equation, but it churns the flux of our material lives even more.
Rajat Kapoor takes all of this and adds a dimension of life and death to, serving up a light-hearted although a slightly off-key story of five friends Naveen, Nandini, Yash, Tanuja and Sudeep. Naveen (Purab Kohli) and Nandini (Gul Panag) are madly in love and soon to be married. Yash (Neil Bhoopalam) and Tanuja (name) are a couple with Yash being non-commital about their relationship. Sudeep is the fifth corner, single, diffident, over-weight and ‘un-cool’ in his lifestyle. But he is as much a part of the gang as the others, the only ribbing that he faces for his looks is from Yash which is quite good-hearted. Life’s looking all hunky-dory when Naveen is killed in a car accident leaving behind shattered family and friends. The angel of death (an excellent Brijendra Kala) takes him to the ‘waiting room’ where it is revealed he was brought in by mistake. It was Sudeep’s time to die. But by then it is too late to send Naveen back so the powers-that-be (Not God, but hilarious sarkari babus) decide to send him into Sudeep’s body. Thus begins a new chapter in both Naveen and Sudeep’s lives.
The premise is roughly similar to the 1968 Rajendra Kumar film ‘Jhuk Gaya Aasman’ but writers Rajat Kapoor and Saurabh Shukla turn it on its head to explore contemporary and universal themes. They keep the film on an even keel even through death and pain. They create a resoundingly uproarious ‘waiting room’ that is just like a Government office. Its characters, babus, furniture and way of working is excellently detailed to be an overworked, rule-book-oriented organisation with its strict hierarchies and babudom, all told in a lovely, ensemble piece of excellent comedy and acting.
But now, Naveen’s soul trapped inside Sudeep’s body so how does he work out his own dreams? Meanwhile, Yash is wooing a mourning Nandini while Tanuja is unaware. The film looses steam here as it tries to balance the issues of loyalty, friendships, unconditional love and the journey of moving on after a death of a loved one. In trying to construct a story with a strong theme it side-lines Naveen’s dilemmas and identity issues that stands out as the main promise initially. Neither is the difficulties of social acceptance for over-weight people takes spotlight and even though the end is a tiny delight in direction and performance, it leaves behind a vacant feeling. Purab Kohli and Ranvir Shorey perform with a delightful conviction but with little avail.
Rajat Kapor has demonstrated a strong hold on urban relationships and milieu, treating them with a light and sure touch. The touch is present here but doesn’t bring the film together in a wholesome experience like his earlier ‘Mithya’ and ‘Mixed Doubles’. Some lovely lyrics by Manish Jain and light-footed music by Sagar Desai keeps the move floating, if only it had really risen up to its premise. Or promise.