Death is a sad event of life. But many films in Bollywood have introduced this inevitability in a mild or derogatory manner. For example, JAANE BHI DO YAARO , EKKEES TOPPON KI SALAMI , Daddy Cool , BUDDHA MAR GAYA , Malamal Weekly , PUSHPAK , NEHLLE PE DEHLLA Etc. Now the first film directed by Seema Pahwa, RAMPRASAD KI TEHRVI also promises to shed light on death. So does RAMPRASAD KI TEHRVI manage to entertain the audience and impress them? Or does it fail in its attempt? Let us analyze.
RAMPRASAD KI TEHRVI is the story of a family gathered after age due to a tragedy. Ramprasad (Naseeruddin Shah) is an old aged father who suddenly passes away at his home while teaching piano to a neighborhood child. He lived with his wife, addressed as Amma (Supriya Pathak). Their sons and daughters live in different parts of the country. Apparently, after getting all the news, they ran towards the mansion of Ramprasad located in a small house in Uttar Pradesh. What should have been a period of mourning for the family results in chaos as a resurrection of past wounds. Above her, Seema (Konkona Sen Sharma), wife of Ramprasad’s youngest son, Nishant alias Neetu (Parambrata Chatterjee), does not come. This leads to gossip and speculation among the wives of other sons. Meanwhile, after Ramprasad passed away on 19 December, Pandit announced that D. tehrvi So it will fall on 1 January. This leads to an argument in the family because some people feel that it would be awkward for people to attend such a ceremony on the first day of the year. The problem is solved and then, another problem arises. The children of Ramprasad came to know that the father had opted for a loan of Rs. 10 lakhs and that is only Rs. 3 lakhs. Now it is their responsibility to pay the remaining amount. While going through his diary, he came to know that he took the said loan as his children were demanding money from him. This leads to another round of revelation You hand. In all this chaos, Amma seems left out. Meanwhile the grandson is at least upset about his grandfather’s death and is having a fun reunion. She knows it will be difficult for her The mansion all alone. Even if she chooses to live with her sons, it seems that they will not be ready to accept her. What happens next is the rest of the film.
The story of Seema Pahwa is promising. The biggest strength is that it is very reliable. Everyone is in the position depicted in the film. Therefore, one cannot help but relate to a lot of events in the film. Seema Pahwa’s script is inconsistent though. Some of the scenes and confrontations are very well thought out and thrown out as well. On Flipside, the film slips into the second half as key details are omitted about certain characters. Seema Pahwa’s dialogues are realistic and situational. However, Prakash Bade Jijaji (Brijendra Kala )’s funny dialogues seem to move from place to place.
Seema Pahwa’s direction in the first 30 minutes is quite clean. The way he sets the setting and the mood make for an attractive watch. Some of Seema’s characters look very interesting and a lot could have been done here. However, one wonders why Seema Pahwa gave up the backstory of some characters. This is particularly the case with Border’s character. Someone fails to understand what he did wrong with Neetu and her family. It is not that she was the only daughter-in-law who lived away from her in-laws. The rest of daughter-in-law Also separated from Ramprasad and Amma. Also, in the end, Seema’s change of heart makes her think that she will ask Amma to live with her. This is what the build up looked like. When she does not, one wonders why it is so. Presumably, she had the same issues as the other daughter-in-law and she was not ready to take responsibility. But this bit should have been better explained. Meanwhile, Rahul (Vikrant Massey) after Seema personally feels like a great idea, but looks a bit forced. The final scene is captivating but also comes suddenly.
RAMPRASAD KI TEHRVI has a good start. No time is wasted as Ramprasad passes away in the first scene. From here on, it is a strange clock as all the crazy characters come and create madness. Some scenes are like drinking the four brothers and expressing their long-buried anger. Also, the sequence where Amma hides behind a pillar and sees that everyone is spending gala time while she mourns the demise of her husband. After Interval, the film becomes very serious. Many who would go to the film after watching the trailer and assuming it would be a lighthearted film would be a surprise, or rather, shock.
The RAMPRASAD KI TEHRVI is stacked with some great performances. Naseeruddin Shah is reliable in cameos. Supriya Pathak is the best part of the lot. One can feel the pain of his character. Much excellent as Konkona Sen Sharma is expected, but this is omitted by weak characterization. Parambrata Chatterjee gives an excellent performance. Vikrant Massey is the best. Vinay Pathak (Pankaj), Manoj Pahwa (Gajraj) and Ninad Kamat (Manoj) have excelled in their respective roles. Sadia Siddiqui (Pratibha), Divya Jagdale (Sulekha) and Deepika Amin (Sushma) also do well, but after a point, their gossip seems repetitive. Anubha Fatehpura (Rani; Buri GG) is convincing while Sarika Singh (Dhani; Choti GG) is very good in the scene where she talks to Amma at night. Manukriti Pahwa (Bitto; who falls for Rahul) is quite lively. Brijendra Kala, Sawan Tank (Samay), Nivan Ahuja (Saksham; Neighbor), Shikant Verma (Basant Chote Jija Ji), Yamini Das (Mami Ji), Vineet Kumar (Mama Ji), Rajendra Gupta (Tauji who spoke English) and Mahesh Sharma (Vinod, who was with Tauji) is decent. In the end, Sana Kapoor as Chhoti Amma is quite memorable.
The music of Sagar Desai is forgettable. ‘An incomplete concoction’ Comes across an interesting situation. Like the rest of the songs ‘Jo Ghum Hua Hai’, ‘Aisa Hai Kyun’ And ‘Bulaway aaya re’ Do not leave a mark. Sagar Desai’s background score is subtle and well woven with narrative.
Sudeep Sengupta’s cinematography deserves praise. Many long takes that are very well captured by the lensman. Darshan Jalan and Manish Tiwari’s costumes and Parijat Poddar’s production design are straight out of life. Editing of Deepika Kalra is fine, but the flashback scenes of Seema and Nishant are more liked on screen
Overall, RAMPRASAD KI TEHRVI has a very interesting story to tell, but fails to make the desired effect due to a very weak second half. The film will face tough times in theaters and should ideally be released directly on an OTT platform.