The yearly London Indian Film Festival started with the usual festivities and since we don’t take half measures here at Upodcast. We decided to give you 2 different perspectives by our good buddies Bhushan Kumar (@bogeyno2) and Sujoy Singa (@9e3k) on how the screening of Umrika went down.
Directed by: Prashant Nair
Starring:, Suraj Sharma, Tony Revolori, Smita Tambe, Adil Hussain, Pramod Pathak, Rajesh Tailang, Amit Sial, Sauraseni Maitra, Prateik Babbar.
In the Q+A following the screening of Umrika at the London Indian Film Festival (LIFF), director Prashant Nair explained how he wanted Umrika to reflect the character of rural India – as Nair rightly pointed out, when it comes to depicting village life on the silver screen, poverty and hardship are often the facets we see presented in Indian cinema by both mainstream and independent films. So Umrika is definitely unique in consciously trying to explore a rather sombre tale with a touch of lightness and humour.
Set in the 80’s, Ramakant (Sharma) idolises his older brother Udai (Babbar) who has left the village and is living in America (or ‘Umrica’ as it is often pronounced in the sub-continent). At first, Udai does not make contact with his family and the village but when he does start sending letters, Rama is fascinated by the ‘exotic’ American culture that his brother is living in. But as time goes on, it emerges that the postman of the village has been forging the letters to pacify Udai and Rama’s anxious mother. As Rama takes over the letter writing duty, he decides to track down his brother and find out the truth for his own peace of mind.
Umrika touches on so many issues at the same time that it could easily collapse under the weight of its own ambition but Nair multitasks with efficiency, managing the different strands of the story with care and clarity. Whether it is a timeless issue (sibling rivalry) or topical (immigration), Umrika is a film about both these things and a lot more all at once. The emotional core of the film is Udai and Rama’s mother who may not have much screen time but looms large in every frame, driving the story forward and representing a strange paradigm – even though she cannot bear to live without Udai, she seems content to send him miles away to a foreign land by himself and live vicariously through his letters, not realising the effect her behaviour has on Rama.
Performance wise, Sharma shines as Rama, depicting the character’s journey of self-discovery with a confidence and poise that carries the film well. Hussein is suitably menacing as the smuggler whilst Pathak and Tailang play their supporting roles of the father and postman respectively with conviction. The two biggest surprises for me were Revolori, an American actor who plays Rama’s best friend Lalu – whether it was his body language or expressions or dialogue delivery, I had no idea it was an American was playing a rural Indian village boy. The other standout is Tambe as the mother who effortlessly manages to show a gamut of emotions from grief to joy and whose actions and expressions remain in the mind long after the film ends.
Umrika is exactly the kind of film a festival like LIFF should be championing and deserves a thump on the back for bringing such great cinema to the world stage. Thematically, Umrika reminded me of another film festival hit done good, The Lunchbox which also had universal themes and forged an instant and intelligent connection to its audience. Having said that, Umrika marks out Nair as a director to look out for and the film is certainly worth watching a few times to enjoy all the nuances and quirks weaved into the story. Highly recommended.
Director Prashant Nair’s “Umrika” seems to borrow from the many Bollywood movies of the 80’s – of lost brothers, of rural family values, of naive ambitions, the stark darkness of city life, and the yearning for loved ones. Rama (Suraj Sharma) is a young man who lives under the shadow of the elder son of the family, Udai (Prateik Babbar). Udai has gone off to Umrika for work, in search of a more prosperous life. It is Udai’s letters that tell the tale of a land so exotic and mystical. After a period, when the letters stop coming, Rama’s mother becomes depressed, and distances herself from her family. The letters pick up again, but when Rama discovers the secret behind these letters, he has to leave his family behind to unravel the mystery behind the American dream. Revealing anything more than this basic description would mean to delve into spoiler territory. But in my humble opinion, Umrika is not about the build up, or the culmination of its protagonist. It is perhaps about the many journeys that its array of characters take.
It does seem like a very conscious choice on the part of the director to choose name-dropping familiar historical names and events and references to songs and sights of that era. And it did help in making one believe in the world that surrounds these characters. From Amitabh Bachchan’s infamous accident on the sets of Coolie to national events such as the Emergency, Prime Minister Indira Gandhi’s assasination, and even the Challenger space shuttle crash, Umrika weaves these historic events seamlessly into the story, hinting at the era and its eccentricities. These were simpler times, and also times when the only image of America are ones that are coloured in shades of brightness and prosperity.
It is however interesting to see how American culture and lifestyle, which is so much taken for granted, is presented from the eyes of a complete outsider – a young villager from India, who has only read about it from newspaper cuttings. What irks me a little however, is that how our protagonist Rama, in an era of no Google or Wikipedia, and with limited education, has been able to dig out so much information about America – from food, to festivals, to even the Cold War.
The cinematography by Petra Koner is absolutely on the money. The bright hues of Jitvapur’s scorching summer have been presented in stark contrast to the decayed blue indoors of the city. Because in the city, the Sun of hope never seems to rise. There’s despair in every move, with everyone filled with greed and deceit. Koner’s camera narrates a tale of its own.
The acting talent here is in top form – Be it Suraj Sharma, who gets to show off his acting chops a bit more after Life of Pi, and does not disappoint at all. He does look like MTV VJ Rannvijay Singh, which made me wonder what if Rannvijay would have played Udai’s role, instead of the mostly forgettable Prateik Babbar. Rama’s friend Lalu, played by Tony Revolori (The Grand Budapest Hotel) is an unconventional casting choice. And yet, it works. Even though the dubbing can seem a bit jarring at times, Revolori’s relentless loyalty to his chidhood mate is reminiscent of the many onscreen Bollywood bromances.
And like most loved Bollywood movies, this one also has a Maa. And thank God for that. Because, it is the Maa who provides the emotional hook to the story. Smita Tambe has one of the most expressive eyes that you will see onscreen all year (perhaps, second to Ramya Krishnan in Baahubali). Her love for her son, anguish, and sorrow makes up for all the pacing flaws and almost left me gasping for a breath.
With Umrika, Nair attempts to bring in a lot of elements and promises under one roof – the horror tales of illegal immigration, the struggle of life in the rat race of the city, and yet, a beacon of hope that shines bright to keep things moving on. Umrika shines.
Rating: 3 Hot dogs out of 5.
Bhushan Kumar is a Hindi film and fashion obsessed being living and working in London.
Follow Bhushan on Twitter: @bogeyno2
Follow Sujoy on Twitter: @9e3k