Being Cyrus

AV: ***1/2

EV: ***

Does cinema actually portray actual life? There are arguments both for and against this question that we have heard. In this context we see the depiction of the great Indian family in Hindi Cinema. A tale of ‘it’s all about loving your family’ was in, driven by the telly soaps. The mega mansions, karva chauts and family pujas said that the family that prays together stays together. Then comes a movie like Being Cyrus which aims at breaking all these formulas. A movie in which all the characters in the family have dark shades. Such a theme might not have worked in earlier times but for the rise of what we call ‘multiplex cinema’. Driven by brave new directors like Onir, Revathy, Rajat Kapur and now Homi Adajania it has broken new grounds.

The plot revolves around Cyrus (Saif Ali Khan), a drifter with a disturbed childhood who enters the Parsi household of the Sethnas. That they are Parsis is not as important rather it is the relations between them that are interesting. Dinshaw (Naseeruddin Shah) is the elder brother who was a famous sculptor at one time and now lives in oblivion. His wife is Katy (Dimple Kapadia) who is very conscious of her increasing age and cheats on her husband. Both of them live in their family countryhouse at Panchgani removed from society. Back in the bustle of Mumbai, there is Farokh ( Boman Irani) the younger brother who has a much younger wife Tina ( Simone Singh). He is a debauched and annoying character with a bone to pick with everyone. All in all it’s quite a dysfunctional family resembling scrambled eggs on a plate. Their lives are changed forever when Cyrus joins Dinshaw as his apprentice.

Despite the lack of bonding, relationships play an important part in the film. It is what defines the actions of the characters. The execution is what makes the difference and that is also the problem. Since all the frames are tightly bound the audience is expected to be attentive throughout. Otherwise you might find yourself lost between the scenes. The background score has a haunting feel reminiscent of the Agatha Christie movies. The authenticity of the Parsi household has been portrayed accurately since it was primarily shot at the directors own house. Some of the sequences are hilarious especially the argument between Farokh and his neighbour.

Saif having already established himself in mainstream cinema tries his hand at an offbeat role. He manages to lend sensibility to the screwed up Cyrus. Naseeruddin Shah is effective as the reclusive artist and Dimple Kapadia plays the over the top Katy as easily. You could not find a more unmatched couple in the world. Boman Irani is in his element as the cantankerous bawa who gets verbal diarrhea. Simone Singh is the surprise element of the film and gives an underplayed yet noteworthy performance. The tortured father of Dinshaw and Farokh, who learns that what goes around comes around, also deserves a mention.

One just wonders whether such concepts would be better suited for theatre. It is true that such movies cater to a very niche audience. Yet they are required if cinema has to move forward in India. It will take time. Until then let’s raise a cheer for the multiplexes.

- Suprateek Sinha

15 Park Avenue

AV: ****

EV: ***

AN advice for anyone who is interested in watching this movie, see it only if you are interested in serious cinema. Like her previous movies, Aparna Sen here also does not make an attempt to add commercial elements to her work. What will sustain your interests is some sharp character picturisations and complicated relationships among the actors. It boasts of some of the best actors of Indian art and regional cinema, Shabana Azmi, Konkona, Rahul Bose, Waheeda Rehman and Soumitra Chatterjee.

Based in Calcutta, this is a story of Arti (Shabana Azmi) and her sister Mithi (Konkona). Arti is a professor at a prestigious college and she shares an age difference of 18 years with her sister. She has devoted her entire life to serving her aged mother and schizophrenic sister. Mithi’s condition is marked by strange delusions and visions which are recurring. At times she is a bundle of energy and at others she is in a state of solitude. Her contradiction with her state of mind constantly haunts her. It is increased by some violent incidents which lead her to a path of self destruction again and again. The relationship she shares with Arti is more of a mother and daughter. The latter sacrifices her personal life and mental peace to stand by her sister.

This subtle relationship forms the crux of the story and is dealt with beautifully. However it is up to Joydeep (Rahul Bose) to help Mithi in finding her home at ’15 Park Avenue, Calcutta’. Driven by pity over the condition of his ex lover, this is his step to redemption. The movie does not attempt to overly sympathize with the condition of the patient but to understand their state of mind. It is marked in the conversation Arti has with her doctor.

“If such people prefer to be happy in their own world who are we to rob them of their joy.”

“Because if 100 people convince you to believe something is right, even the impossible becomes true.”.

One does not have to state again and again that Shabana Azmi is a brilliant actress. It is simply understood and she fully justifies her choice for the role. Between the patience of a motherly figure and the frustration of a middle aged woman she is effortless. Bose who is a favourite of Aparna Sen does another good job as the lover who is driven by guilt and shame for his actions. Waheeda Rehman as the mother who is helpless and distraught with her daughter’s plight deserves a mention. But the highlight is Konkona who is like a child woman who no one can understand but she her self. She delivers a superlative performance without going over the top which is the usual manner in which such roles are usually portrayed.

The theme is not new, the last movie on this theme, Kyon Ki raising protests in the way schizophrenic individuals are shown. Yet it is the difference in treatment that sets it apart. Rather than considering such people as mentally disabled it makes us realize that they have aspirations like any of us. The trauma that any family who has such a member goes through looks realistic. This is where the audience starts empathising with Mithi’s character. And the climax makes them feel happy for the blessed but unfortunate girl.

P.S. This was supposed to be the movie I would have watched with my close friends, but for some compulsions. For them, Guys go watch it, im sure you’ll love it.

- Suprateek Sinha