Chris Knipp
04-20-2014, 11:45 AM
Ritesh Batra: The Lunchbox (2013)
http://www.chrisknipp.com/newpictures/lunchbox.jpg
NIMRA KAUR IN THE LUNCHBOX
Tasty messages
In Mumbai, a young wife's carefully cooked lunches designed to rekindle her husband's waning interest go awry and are misdelivered to a lonely, embittered widower crunching numbers in a claims office who's about to take early retirement. The lunches are appetizing, daily notes begin being exchanged and two unhappy people get a spark of life. Does it go beyond this? Hard to say. But even if there's not much to take away, there are rewards while you're watching. First there is the rich specificity of the locations -- the intricate, usually flawless vernacular food delivery system, the packed commuter trains, the man's Christian neighborhood and the woman's Hindu one, things only the teeming city of Mumbai can provide. Second, there are the finely modulated performances of Nimrat Kaur as Ila, the unappreciated, cheated-on wife and, even more, the infinitely subtle Irfan Khan as Saajan Fernandes, the world-weary office slave.
As Jay Weissberg of Variety (http://variety.com/2013/film/reviews/cannes-film-review-the-lunchbox-1200483926/)notes, this is fortunately not an addition to the "overstuffed" food movie genre. Clearly the aromas coming from the metal tier of Ila's lunchboxes are enticing and the food looks good, but that's just the come-on. The daily handwritten notes are what matter. And the story adds useful subplots to show the dried-up Saajan's reawakening, notably his participation in the wedding of his job replacement Shaikh (Nawazuddin Siddiqui), leading to more vivid Indian detail. And there's an emotional scene with Ila's mother, and many lively exchanges with Ila's unseen upstairs "Auntie" (Bharati Achrekar), the motor behind the cooking and romancing. But one must also agree with Mick LaSalle of the San Francisco Chronicle, (http://www.sfgate.com/entertainment/article/The-Lunchbox-review-A-lush-if-frustrating-5293894.php) that this film never "transcends its gimmick." Yes, it would be interesting if two people met through lunchbox notes. But what then? And a flaw is that Khan may be too young for his character, perhaps (it's not quite clear) meant to be as much as thirty years older than Ila.
One is bound to be moved. Many scenes show the loneliness of Saajan and the frustration of Ila and one longs to see them meet; instead one sees them almost-meet, and rush back and forth almost-meeting. It's a tease that is also a scenario-confusion.
Yet on the whole first time director Batra shows a degree of skill and maturity that touches on the universal. Even if he's satisfied with surefire but limited effects, his mastery of physical business is remarkable. He gets the maximum out of packing and opening that four-tiered metal lunchbox. The lunch-opening and note-unfolding moments might be a bit monotonous after a while were it not for the range of expressions on the rubber-faced Irfan Khan. Is the vague ending a wise discretion or muddled writing? Batra's story isn't too sentimental (however it risks being so) but a timid film about two timid people leaves one feeling hungry -- if happily not overstuffed as a Bollywood version would make one.
The Lunchbox/Dabba , 104 mins., debuted at Cannes Critics' Week 19 May 2013 and showed at many festivals, including London, Venice, Telluride and Toronto. Released in France 11 Dec. 2013 (generally favorable reviews: Allociné (http://www.allocine.fr/film/fichefilm-220884/critiques/presse/)press rating 3.9); in the UK 11 April 2013. It opened limited in the US 28 Feb. 2014 and came to the Bay Area in April. Screened for this review at the Landmark Albany Theatre 19 April 2014.
http://www.chrisknipp.com/newpictures/lunchbox2.jpg
IRFAN KHAN IN THE LUNCHBOX
http://www.chrisknipp.com/newpictures/lunchbox.jpg
NIMRA KAUR IN THE LUNCHBOX
Tasty messages
In Mumbai, a young wife's carefully cooked lunches designed to rekindle her husband's waning interest go awry and are misdelivered to a lonely, embittered widower crunching numbers in a claims office who's about to take early retirement. The lunches are appetizing, daily notes begin being exchanged and two unhappy people get a spark of life. Does it go beyond this? Hard to say. But even if there's not much to take away, there are rewards while you're watching. First there is the rich specificity of the locations -- the intricate, usually flawless vernacular food delivery system, the packed commuter trains, the man's Christian neighborhood and the woman's Hindu one, things only the teeming city of Mumbai can provide. Second, there are the finely modulated performances of Nimrat Kaur as Ila, the unappreciated, cheated-on wife and, even more, the infinitely subtle Irfan Khan as Saajan Fernandes, the world-weary office slave.
As Jay Weissberg of Variety (http://variety.com/2013/film/reviews/cannes-film-review-the-lunchbox-1200483926/)notes, this is fortunately not an addition to the "overstuffed" food movie genre. Clearly the aromas coming from the metal tier of Ila's lunchboxes are enticing and the food looks good, but that's just the come-on. The daily handwritten notes are what matter. And the story adds useful subplots to show the dried-up Saajan's reawakening, notably his participation in the wedding of his job replacement Shaikh (Nawazuddin Siddiqui), leading to more vivid Indian detail. And there's an emotional scene with Ila's mother, and many lively exchanges with Ila's unseen upstairs "Auntie" (Bharati Achrekar), the motor behind the cooking and romancing. But one must also agree with Mick LaSalle of the San Francisco Chronicle, (http://www.sfgate.com/entertainment/article/The-Lunchbox-review-A-lush-if-frustrating-5293894.php) that this film never "transcends its gimmick." Yes, it would be interesting if two people met through lunchbox notes. But what then? And a flaw is that Khan may be too young for his character, perhaps (it's not quite clear) meant to be as much as thirty years older than Ila.
One is bound to be moved. Many scenes show the loneliness of Saajan and the frustration of Ila and one longs to see them meet; instead one sees them almost-meet, and rush back and forth almost-meeting. It's a tease that is also a scenario-confusion.
Yet on the whole first time director Batra shows a degree of skill and maturity that touches on the universal. Even if he's satisfied with surefire but limited effects, his mastery of physical business is remarkable. He gets the maximum out of packing and opening that four-tiered metal lunchbox. The lunch-opening and note-unfolding moments might be a bit monotonous after a while were it not for the range of expressions on the rubber-faced Irfan Khan. Is the vague ending a wise discretion or muddled writing? Batra's story isn't too sentimental (however it risks being so) but a timid film about two timid people leaves one feeling hungry -- if happily not overstuffed as a Bollywood version would make one.
The Lunchbox/Dabba , 104 mins., debuted at Cannes Critics' Week 19 May 2013 and showed at many festivals, including London, Venice, Telluride and Toronto. Released in France 11 Dec. 2013 (generally favorable reviews: Allociné (http://www.allocine.fr/film/fichefilm-220884/critiques/presse/)press rating 3.9); in the UK 11 April 2013. It opened limited in the US 28 Feb. 2014 and came to the Bay Area in April. Screened for this review at the Landmark Albany Theatre 19 April 2014.
http://www.chrisknipp.com/newpictures/lunchbox2.jpg
IRFAN KHAN IN THE LUNCHBOX