Kamala Markandaya wrote in THE NOWHERE MAN long ago about its Tambrahm protagonist's "delicate balancing feats" on the western commode in London.Watching PIKU was like that. Our aged/ageing fathers, grandfathers come alive with Amitabh's portrayal of Bhaskor Bannerjee. Deepika Padukone and Irfan Khan play admirable counterpoints to Amitabh.Which one of us is unfamiliar with powders, mixtures, herbs, and Isabgol, besides Pursennid-in and Eno? Fierce Laxative-addiction!! And the Singhaasan which Irfan so effectively drives from Delhi to Kolkata? We laughed till Deepika's voice choked briefly at the end of the movie. We laughed through every move and every word of Amitabh. But at the back of our minds was a different story, the story of households with stubborn parents or grandparents whose large intestines stubbornly refused to make the call a simple affair like the cows and buffaloes. If John Donne made Death and Love the interchangeable subjects of his verse; PIKU made Death and Shit the most unpredictable, therefore the most philosophical, and 'fit' subject of this movie. My observations are not scatological or sarcastic. I find it exceptional that an Indian movie has made the bowels a central theme.
Long ago, in 1972, Urmila Bhatt (in PHIR BHI) dared address female desire and orgasm... after CHETNA and ZAROORAT broke some taboos. DASTAK had played havoc with Hindi cinema's moral world-view with a degree of aesthetic sophistication. In effect, Hindi cinema had dared to negotiate even human sexuality and some of its dimensions and the Censor Board, probably shaken by the Khosla Committee Report, did not blue-pencil too much of the movies. But Indian cinema has not dealt with scatology till now as in PIKU. ANALysis of a major geriatric problem has remained taboo; and tiny-tots depositing little piles of shit all over the home have not been addressed either... as a very simple and natural part of our daily household life... probably because most producers and directors are male and have little time and inclination for helping patiently with kids and potties.
And by the time they encountered their own oldage, they probably couldn’t produce movies, being preoccupied with their own visceral tantrums and worried about their daily productions.. So it took a Producer/Director of a younger age to deal with this… and incidentally create a great theory about how motion is related to emotion. One can actually see it in Amitabh’s emotional relationship with all the others in the movie. And in Deepika’s sense of frustration, anger, tenderness towards her father.
The incidental reference to her physical relationship(s) tends to draw the prurient mind towards a little steamy scene thrown in somewhere, especially during the night halt at Benaras. But that is a red-herring and the movie ‘concentrates’ steadfastly on a versatile Amitabh who is angry one moment, unreasonable at another, jolly at yet another and joyously nostalgic during the bicycle ride in Kolkata. Someone… was it Parsa Jr…. said a week ago that Amitabh was irritating. Indeed!! It was a role of a lifetime and he irritated as much as the director wanted him to.
source by Metroindia
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