One-woman show

Nonika Singh

Most Indian films set in foreign lands dealing with the Indian Diaspora sell you the exotic  phoren dreams. Love in the air, romance in the Alps, sensual heroines attired in chiffon sarees and a super luxurious king-size living.

Simran takes you to the other side, if not exactly the murky world but certainly to the periphery, as it peeps into the middle class existence of our heroine. As is with most of this class money is a rare commodity, indeed.

Indians across the seven seas too often find it difficult to fulfill their dreams, if not make ends meet. Debt trap is not at all uncommon and here the 30-year-old divorcee, after her adventurous forays in sinful Las Vegas’ casino, walks into one.  Thus begins her tryst with the world of crime.

Unlike Hansal Mehta’s previous forays, Simran, however, isn’t dark or intense. Call it middle of the road approach it has a lightness of touch even when Mehta bares the demons that creep into a free- spirited Gujarati girl’s life.

Kangana, as that girl, of course pulls off her complex character that is at once likeable and equally grating, normal yet unorthodox. In fact, there is no conscious attempt to build empathy for her character, Praful Patel. Yes, that’s the name by which she goes in the film.  Your query, pray than who is Simran, is very valid. Remember the iconic film DDLJ and its evergreen dialogue etched forever on our minds Jaa Simran jaa, jee le apni zindagi. 

Whether the director is trying to hint at something deeper or not, the scene appears for a minute on the television screen, enough for her to borrow the name to protect her real identity. She also picks up wigs, glares and hoodies to masquerade herself. Why she needs to do that, what path she follows to pay off her debts are questions for which you find answers yourself, lest we spoil your suspense. 

Should you choose to watch the film, let it be said, it’s no Queen that made a significant statement about women empowerment. Nor is it an out and out fun ride like Tanu Weds Manu and its hilarious sequel.  Frankly Simran doesn’t break any new ground either and tells you a real story of a real girl (based on an actual incident) in as realistically a fashion as Bollywood can, the implausible bits about how easily she gets away, notwithstanding. 

Besides, thanks to Kangana’s superb act and Mehta’s grip over the not-so credible plot, it is more than watchable and mostly enjoyable too. A scene or two thrown in to celebrate rebellious Kangana’s free spirit, clearly in deference to her growing status and stature could have been avoided. But still this is not that big an impediment to dull your viewing pleasure.

The unexpected, rather quirky end is yet again a plus and doesn't take you to the doom and gloom path which coming from Mehta’s stable is both a relief and a surprise. Kangana’s acting prowess is not a secret and here her many shades are not just the icing but the cake itself. And that is the film’s biggest strength as well as its failing. One- woman show is welcome but if others have a part they must get their pound of impact too. Here, the biggest takeaway is Kangana….