Movie Review: Piku

Piku is the story of a cantankerous “constipated” dad played by Amitabh Bachchan (Bhaskor Banerjee) & his relationship with his fiercely independent daughter, played by Deepika Padukone (Piku) & the trials & tribulations of a cab owner Irrfan Khan (Rana Choudhary), unfortunately, stuck between the two. The movie is replete with humour but does not fall into the genre of a romantic comedy, although it had the potential to evolve into one.

It is a layered movie which explores the different shades of human character that is replete with surprising contradictions. Bhaskor is an eccentric man. He bats for “woman’s liberation” & denounces all women like his wife - condemning them to be of “low IQ” - for sacrificing their careers for the sake of their husbands; contrast this with the selfishness that afflicts him as a septuagenarian that forces him to torpedo his daughter’s marriage proposals - fearing the consequent loneliness.  Rarely do you see a father revealing to a potential suitor that his daughter is “not a virgin” & is “sexually & economically” independent. This hypochondriac’s calls to his daughter on the texture & colour of his poop when she is on a dinner date, destroy whatever little chances there are of consummation of her matrimonial alliance & his untimely calls to her when in office, cause discomfiture & embarrassment. Piku on the other hand is a modern woman who doesn’t hitch snapping back at her dad but loves him deeply & cares for him at her own expense.

Bhaskor - a widower - is a retired Bengali bhadralok living with his daughter Piku – an architect – in New Delhi. Piku’s business partner Jishu Sengupta (Syed) appears to have a soft corner for her & is her protective shield. Her casual reference to “sex” as a “need” - that can be satiated even outside of marriage - reveals the liberal outlook that the country is rapidly rushing towards. That no “moral police” has attacked the film on this count is, indeed, welcome. Moushmi Chatterjee (Masi) - Piku’s maternal aunt - is represented as thrice married that buttresses the “liberal” argument; speaking to Rana she jests that she is ready for a 4^th one too. The dinner table discussions of the eclectic family instead of revolving around gastronomic delights ultimately centre on the gastro intestinal track & tummy issues that are indeed hilarious.

Bhaskor’s obsession with his “bowel movements” or rather the lack of it often puts Piku under constant stress. Maids quit unable to accede to his impossible demands: insistence on multiple cleanings of his toilet; & accusations of being kleptomaniacs. Paradoxically, he is an incorrigible salt stealer himself convinced that it is the desired solution to his problem. Perhaps, Bhaskor’s senility causes Piku irritation that finds an outlet on hapless cab drivers leading to many car wrecks; consequently, the drivers express reluctance to offer her their services.  On one such occasion  when one of the drivers - who was supposed to carry the father – daughter duo -  from Delhi to Kolkata – to visit their ancestral home -  fails to appear that the owner of the cab service company,  Rana , shows up & unwitting becomes part of a family drama. The movie is largely based on the encounters during this gloriously riveting road ride.

During the ride & after, Rana provides a rational viewpoint to the eccentric family. He offers his own unsolicited advice to the intractable bowel problem:  “Sitting in the traditional way” rather than the “English way” to exert the right pressure to facilitate “motion”; & a ingesting a traditional recipe of boiled “Tulsi & Pudina”.

The movie without being preachy alludes to the responsibility of the current generation to the geriatric ones. While the tantrums & belligerence of the older generation could be annoying, children cannot shirk their responsibility seems to be the message. Piku shows “how” to shoulder the responsibility. The film also encourages the cognoscenti not to destroy ancient buildings in the name of development; after all buildings are not necessarily built of mortar or stone alone, they carry nostalgic memories which are priceless – something that money cannot buy.

Bhaskor dies at his ancestral home at the end of the movie, post achieving victory over his bowel problem & learning to be at peace with life. Piku is finally liberated.

Big B plays his age & is adorable as the 70 year old while Deepika – in a deglamourized avatar - is lovable as a doting daughter. While Irrfan Khan does not have an author backed role, he allows his eyes to do most of the talking which is a delight.  Jishu & Moushmi are a strong supporting cast. 

The movie is not without its defects. Rana’s family – consisting of his mother & his sister separated from her husband – is introduced at the beginning of the movie but is not explored further. Rana reveals that his sister stole jewels from her mother-in- law to give it to her mother; this strand that highlights the complexity of human relationships, if worked on, could have made the movie much richer. The romantic track between Rana & Piku is not brought to a logical conclusion either.

Shoojit Sircar – the talented maestro - crafted the immensely popular “Vicky donor” (2012) & the thriller “Madras Café” (2013). While “sperm” was the hero of Vicky Donor, “motion” is the lead actor in Piku. The ability to trend into the realm of the unknown makes Shoojit unique & he does not disappoint yet again.  That family & their foibles when combined with wit & progressive thought can create a heart wrenching story that tugs at your heartstrings was revealed by Hrishikesh Mukherjee; Piku reveals that there is still an audience for his genre of film making. Take a bow, Shoojit Sircar.