THE LUNCHBOX
DIRECTOR: Ritesh Batra
CAST: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui
DURATION: 104 minutes
"THE LUNCHBOX" tells a tale of interesting equations existing between people in the society of a metropolis. Like many other films commonly dished out by the industry every year, it revolves on the idea of relationships. However, any such film on subjects likewise, makes viewers expect an arty feel with deep and profound thoughts and moments of large pauses and silences, where the viewer is urged to fill in his interpretations in the deliberate gaps in the narration.
Fortunately or unfortunately, this is that rare multiplex movie, which does all this, but in the most deviant way as is possible. Not even at one point does the film get preachy or deep to the extent of leaving matters ambiguous for the viewer. Things take their own time to unfold, and points in the narrative may seem fragmented in terms of the plot, but a little bit of patience will indeed take you a long way. You will certainly need an observer's eye for detail to catch the tying of the incomplete and loose ends on a periodic basis. That notwithstanding, the film serves as a perfectly fulfilling watch as we see the tale unfold sequentially and in linear fashion, making it different from such kinds of films that are intellectually and psychologically so demanding that the task of deciphering takes a toll on the audience's mind, to the extent of making it a laborious and arduous watch from start to finish.
In keeping with my point about the 'pleasure principle' as required essentially in our cinematic experience, director Ritesh Batra scores a point above most such lesser known filmmakers catering to a niche 'film festival' audience, whose films often sink without traces on grounds of intended obscurity and complex incomprehensibility. So clearly and lucidly told, what the film leaves unsaid is through its representations and use of symbolism. The individual interpretative ability is not exploited at the level of plot, but at the level of perception and communication, and here, the director leaves it to the viewer to absorb and comprehend, to each according to his ability. This struck me as unique, very well thought of, and impressed me, besides much much more.
The primary thrust of the narrative focuses on an epistolary romance nurtured gradually and subtly between a greying widower, Mr. Fernandes (Irrfan) moving towards retirement, not only from his job, but also from life, generally; and a housewife, Ila (Nimrat) trapped in a loveless marriage, without any escape route. The route to the man's heart being through his stomach, as commonly known, Ila does all possible to salvage her hopelessly barren married life; the lunchbox possibly the last resort to make it possible. The displacement of her designs is what drives the plot, and what unfolds is a series of repeated scenes, in the same setting, which though strangely predictable, each time, has something new and unexpected in its intent to offer.
The film transcends the ordinariness of not only the story, and the main characters contained in it, but also its setting and action through the portrayals of several characters intertwined rather marginally in the plot, and uses it to give us perspectives on love and life, conjugality and companionship, freedom and fulfillment. Parallel stories are woven into the plot, which not only support and extend the main, but also add and extend our takes on the central themes of the film, though the ability to interpret and connect these to the main body of the protagonists' tale is left entirely to the individual viewer. Irrfan and his counterpart play their roles perfectly, flashing suitably correct expressions at correct times; and Nawazuddin is a delight to watch with his comic timing and simplicity, honesty as a character. Portrayed beautifully, the film is a slice of urban life, with each morsel packing in so much more than just a visual treat into an Epicurean paradise. A tribute to the famous 'dabbawallahs' of Mumbai, each frame is carefully done to leave you yearning for more, seeking a kind of completeness and closure, which is initially seemingly apparent, but never arrives. The logical conclusion is evaded after raising expectations to a crescendo, and that sense of what simply could have been, but never came, prevails even as you leave the theater. This is one large meal, carefully cooked and eaten hungrily, but never completely ingested. A no-frills treatment and a careful portraiture of expressions, this lunchbox will open out a new flavor scene after scene, but never satisfy your appetite.
The film transcends the ordinariness of not only the story, and the main characters contained in it, but also its setting and action through the portrayals of several characters intertwined rather marginally in the plot, and uses it to give us perspectives on love and life, conjugality and companionship, freedom and fulfillment. Parallel stories are woven into the plot, which not only support and extend the main, but also add and extend our takes on the central themes of the film, though the ability to interpret and connect these to the main body of the protagonists' tale is left entirely to the individual viewer. Irrfan and his counterpart play their roles perfectly, flashing suitably correct expressions at correct times; and Nawazuddin is a delight to watch with his comic timing and simplicity, honesty as a character. Portrayed beautifully, the film is a slice of urban life, with each morsel packing in so much more than just a visual treat into an Epicurean paradise. A tribute to the famous 'dabbawallahs' of Mumbai, each frame is carefully done to leave you yearning for more, seeking a kind of completeness and closure, which is initially seemingly apparent, but never arrives. The logical conclusion is evaded after raising expectations to a crescendo, and that sense of what simply could have been, but never came, prevails even as you leave the theater. This is one large meal, carefully cooked and eaten hungrily, but never completely ingested. A no-frills treatment and a careful portraiture of expressions, this lunchbox will open out a new flavor scene after scene, but never satisfy your appetite.
