Albeit the many subplots are difficult to process, the amiable presence of Sharmila Tagore and the masterful act by Manoj Bajpayee makes film a pleasant watch

Mona

THREE generations in a sprawling two-storey Gulmohar Villa come together for one last night of celebrations, before charting their own journeys. Each facing individual challenges, while some look forward to the freedom while others not quite. Director Rahul V. Chittella, who is also the writer of this story along with Arpita Mukherjee, paints a world with themes of adoption, ambition, love, loss and longing.

The story of the film Gulmohar follows Kusum Batra (Sharmila Tagore), whose decision to sell their Delhi house, where they had spent 34 years together, isn’t sitting well with her son Arun Batra (Manoj Bajpayee). His son Aditya (Suraj Sharma), along with his wife, doesn’t want to move to the sprawling penthouse they have zeroed-in at Gurgaon, but rent out an apartment with his wife elsewhere. Kusum’s grandchildren and her devar Sudhakar Batra’s (Amol Palekar) family are also stakeholders of this villa.

Rahul V. Chittella’s debut feature weaves in a world that one can relate to. Amongst the multiple narratives, it’s the mother-son strand that stands out prominently. Sharmila Tagore makes it back to screen after 12 years and she has a gorgeous, gracious presence. As the head of the family, the dignified demeanour she carries through ups and downs, and the twinkle in her eyes, is endearing.

Manoj Bajpayee is a brilliant actor and he nails this role too — an adopted son, trying to keep the values instilled by his late father intact. His reverent attitude towards the mother, loving ways towards wife Indu (Simran) and concern towards his son Aditya (Suraj Sharma) reflects effectively through the different frames. In the loving way how he says ‘mamma’ or how his body language changes as the reality of the house papers is revealed, his mastery over the craft is quite palpable.

The lead is well supported by the impressive ensemble cast. Suraj, as the struggling son, Santhy as house-help Reshma Saeed, Jatin Goswami as watchman Jeentandra, and Anuraag Arora, as cousin Kamal Batra, perform marvellously. One absolutely adores Talat Aziz as Avinash. It’s the music that wins your heart, right from the first frame. Dilkash Saza Yeh Deeje to Hori Mein, which concludes the film, are superb.

Not just the numbers, the background score is amazing. Kudos to cinematographer Eeshit Narain for capturing Delhi’s ‘long forgotten in smog’ beauty alive on screen. Chittella’s film carries hints of his filmmaker friend and mentor Mira Nair’s signature, and hints of Monsoon Wedding.

However, the film that is a microcosm of the world, is let down by the numerous subplots. By the half-time, as the conflict hits a crescendo, one has already had too much. The viewer struggles to keep up with the characters and their respective storylines. The film talks about adoption, ambition, generation gap; has queer angle, talks of love marred by caste, class, education and religious divide.

While one is all for the queer community, to add not one but two lesbian love stories is a little too much. On account of so many subplots, at 132 minutes, the film seems stretched. But it sure paints a happy picture, predictably with everyone getting their fair share of sun at the end.

(The film is streaming on Disney + Hotstar)