The film, right from its first few minutes, is hell-bent on advertising the old-new divide: The Mathurs literally shift from New Delhi to Old Delhi, a grandmother insists on taking a selfie, the boy uses a spoon to downgrade the traditionalism of the titular dish, the adults discuss what LOL is supposed to mean, Kabir is always seen sporting large headphones, he eats wafers while his father gorges on samosas, he cringes on hearing the ‘earthy’ sounds of a local band, he becomes a Youtube sensation (because Junoon wannabes go ‘viral’ these days), his father trades in an ancient Nokia for a smartphone, we see characters speaking through their profile pictures, and so on and so forth. She delves into the psychology of ‘coolness’ with the cocksure aura of an adult indulging the Instagram generation rather than exploring it. Here, too, Yadav treats it as more of a strange “condition” – one that the elders take upon themselves to decode so that there is two-way communication.
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The stereotypes aren’t entirely misguided, but the older cartel of storytellers needs to understand that there is a marked difference between depicting modernity from a traditional perspective and interpreting modernity as a legitimate sociocultural truth. With Rajma Chawal, Leena Yadav ( Parched, Teen Patti, Shabd) joins the long list of antiquated Indian filmmakers whose patronizing gaze of the country’s “youth” is limited to promiscuity, bad haircuts, Sufi rock bands and, you guessed it, social media mechanisms. But it’s one thing to romanticize their ignorance on screen it’s another when the makers themselves are those ignorant folks. It’s sweet to see them employ a newer language to dilute the generational discord. I get that it’s cute to watch old-school folks embrace the fast ways of the digital world. On an unrelated note, debutant Anirudh Tanwar’s father is one of the film’s producers. Basically, he pays a girl to love his son. While you mull over that, let me also mention that Mathur, at some point after realizing that the real girl (Amyra Dastur) is in on his grand idea, actually bribes her to keep the scam going. To further contextualize this twisted premise: the man’s wife just died, and the boy is single.
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I repeat: he forges a heterosexual (platonic, sure – in Delhi) bond with his own son by using the defunct profile of a ‘homely’ girl. Mathur – a widower who, in an effort to improve his equation with his troubled son (Anirudh Tanwar, as Kabir), thinks it is a fine idea to catfish the boy by chatting with him under the fake Facebook identity of an attractive young lady.
#Rajma chawal trailer movie
It’s unfortunate that Rishi Kapoor, otherwise the gold standard of middle-class North Indian movie patriarchs, is the man behind this role. 10-21.Rajma Chawal, if viewed beyond its desperation to fit in like a drunken uncle at a Miley Cyrus concert, is about the creepiest father in the history of bad fathers. The film is lensed by acclaimed Australian cinematographer Donald McAlpine who received Oscar and BAFTA nominations for his work on Baz Luhrmann‘s musical Moulin Rouge.
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Rajma Chawal is co-produced by Gulab Singh Tanwar, cinematographer Aseem Bajaj (credits include Netflix‘s first Indian original Sacred Games) and Yadav. Rajma Chawal is directed by Leena Yadav whose previous film Parched premiered at Toronto and won the best screenplay award at the 2016 Asia Pacific Screen Awards. The film also stars Amyra Dastur and Aparshakti Khurana.
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Set in the Chandni Chowk historic quarter of India’s capital Delhi, the film revolves around a father, played by well-known veteran Bollywood actor Rishi Kapoor, attempting to reconnect with his estranged son (played by newcomer Anirudh Tanwar) through social media. Netflix will stream the title worldwide on Nov. Netflix has acquired the worldwide rights to Hindi language title Rajma Chawal which will have its world premiere at the BFI London Film Festival.