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PIKU Reviews and Boxoffice collections (Page 16)

Hermione.. IF-Rockerz

Joined: 08 June 2014
Posts: 9544

Posted: 07 May 2015 at 9:59pm | IP Logged
Hindustan Times Review

Director: Shoojit Sircar
Cast: Amitabh Bachchan, Deepika Padukone, Irrfan Khan
Rating: 3.5/5

A father who introduces his 30-year-old daughter to her suitors as a "financially, emotionally and sexually independent, non-virgin woman" and a daughter who scolds her dad for his obsession with health and tells him it would have been better if he had some disease.

The dad is Amitabh Bachchan's Bhashkor Banerjee and Deepika Padukone essays the role of Piku, the daughter, in this Shoojit Sircar's directorial venture.

How does this eccentric father-daughter relationship unfold on screen? Let us explore.

In a rare reminder of Hrishikesh Mukherjee films, Piku is does not feel like a movie; it might as well have been a video recording of any family with an ageing parent and a single child taking care of him/her.

Piku presents a very realistic view of a typical Indian family. There is no cinematic aura, over-the-top idealistic relations and absolutely no preachy morals. The film harps on the simplicity of reality, gently tugging on your heartstrings.
The film explores the relationship between an ageing parent and an independent single daughter.

The film explores the relationship between an old father and his daughter on whom he completely depends. Shoojit, who earlier gave us John Abraham-starrer Madras Caf (2013) and Ayushmann Khurrana-starrer Vicky Donor (2012), once again proves that an entertainer does not have to be larger-than-life and unrealistic.

The beauty of Piku lies not in the story but the way it is told. The film shows that mind-boggling stories are not essential to touch hearts on the silver screen. Piku's story is too simple - it does not offer shocks or surprises. Instead, it is one of those endearing narratives where the actors' performances and nuanced ways in which the director tells the tale overpower the predictable storyline.

Juhi Chaturvedi's warm and sweet screenplay ensures that everyone who lives with or has lived with ageing parents will identify with Deepika's character. It is irritating to deal with their tantrums and we keep scolding them, but the moment we see the smallest deterioration in health, we are ready to do anything to ensure that they are back to their childish ways.

Bhashkor (Amitabh) and Piku (Deepika) are Bengalis living in Delhi. While Bhashkor spends his days obsessing over his bowel movements, Piku is a wonderful multi-tasker who manages the whole household, works at an architecture office and also tries her best to maintain an active sexual life.
Amitabh Bachchan ensures you will not forget this 'motion picture' in a hurry.

Rana Chaudhary (Irrfan) is the owner of a taxi service company that is reeling under the onslaught of Piku's arrogance. While several of his drivers have left because of her attitude, many have caused accidents when faced with her wrath. Situation puts Rana in the middle of Piku's family drama. While he is attracted to Piku, he is also aware how this caring woman can also be arrogant, rude and adamant. As he maintains his distance, Rana's interaction with Piku has a subtle, understated romantic tone.

Rana's character brings sanity to the eccentric lives of Piku and her dad, but not in a way that they would welcome. He is as much an outsider to this freaky family as the audience - a non-Bengali caught in the middle of a Bengali family so obsessed with their domestic problems that they involve him in their arguments and when he presents a rational viewpoint, they ask him not to interfere in 'family problems'.

He is shocked at the way Amitabh behaves with his caring daughter and is surprised at the daughter's arrogant behavior. During a road trip, as Irrfan drives them from Delhi to Kolkata, Amitabh sings a Bengali song 'Ei poth Jodi na shesh hoi' and asks Irrfan if he knows the meaning. After a small irrelevant chat, Irrfan is told the meaning: "What if this road doesn't end?" Irrfan, 'the Thakur from UP' tells Amitabh, "Aisa gaana gao jiska kaayde ka meaning ho."

Another refreshing thing about Piku is that it does not obsess about romantic relationships. Despite all the hullaballoo about the pairing of Deepika and Irrfan, the film has none of your clichd Bollywood romantic moments. Instead, the romance in Piku is real and endearing, mainly because it is subtle and understated.
Irrfan and Deepika's 'real' romance adds depth to Piku.

Towards the end, Irrfan is about to leave Piku's family and Deepika wants him to stay because she finds his 'normal ways' rational. Not at a single point does she tell him that he should stay for her sake or that she needs him, she only hints that he is welcome. The sheer simplicity of the silence between the lead pair and their charming banter makes their romance identifiable.

Deepika Padukone proves yet again that she is perhaps one of the most dedicated lead actors the industry can boast of and one who does not disappoint with her bold choice of non-glamorous, refreshing roles. Her attitude in the film will in remind you of all your women friends who are independent, have a mind of their own and do not allow anyone to dictate their lives (that is, if you are not one yourself).

Amitabh Bachchan is endearing and real in his portrayal of a 70-year-old man, dependant on his daughter. However, in his bid to come across as the ageing man who turns progressively childish in his demeanour, Amitabh does sound a lot like Auro (his character from Paa).

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briahna IF-Sizzlerz

Joined: 05 August 2012
Posts: 14254

Posted: 07 May 2015 at 11:00pm | IP Logged
now lets hope it gets a decent opening. good WOM will help movie sail thru!

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Kamala05 IF-Sizzlerz

Joined: 21 June 2012
Posts: 13836

Posted: 07 May 2015 at 11:32pm | IP Logged
Piku Movie Review" title="Piku Movie Review">
  • Genre:
  • Cast:
    Deepika Padukone, Amitabh Bachchan, Irrfan Khan
  • Director:
    Shoojit Sircar
A warm, charming and bittersweet family drama, Piku turns the genre completely on its head.

The result is a magnificently original film that delivers a memorably unique movie experience.

Coming from the man who crafted Vicky Donor, a quaint drama around the adventures of a sperm donor, and got away with it, this comedy about constipation is par for the course.

What is truly surprising, and impressive, is that director Shoojit Sircar puts just enough spin on this wild whimsy to keep it whirling engagingly over its running time of two hours and a bit.

He is aided, of course, by a remarkable cast of actors who plunge headlong, and with full conviction, into the film.

Piku gives the go-by to the usual trappings of Hindi cinema and offers a fresh and deliciously quirky take on a deeply layered father-daughter relationship that borders on the dysfunctional.

Piku is the story of a cranky old Bengali widower Bhaskor Banerji (Amitabh Bachchan) who subjugates his paternal instincts to the health, or the lack of it, of his alimentary canal.

The more trouble that the crotchety gentleman has clearing his bowels, the more difficult he becomes for everyone around him, including a harried maid who he summarily accuses of kleptomania.

Mr. Banerji has a formidable counterpoint is an equally strong-willed daughter, Piku (Deepika Padukone), a busy architect who, despite the challenges that her dad poses every waking hour, takes the man's frequent mood swings in her stride.

Caught between the two is a cab service owner Rana Chaudhary (Irrfan Khan) who, as the baffled outsider in the course of a road trip that threatens to run off the rails, gives both father and daughter perspectives that promise to deliver them from the stalemate they are trapped in.

On the face of it, there isn't much scope for overt conventional drama in this narrative construct in which most conversations veer around to the old man's daily potty trouble.

But the film is packed with humour, poignancy and occasional dashes of bathos, which ensure that all the shit-talk does not stink.

The two central characters of Piku are the kind of figures that one does not encounter all that often in Hindi cinema.

The dad is an unabashedly selfish man. He does not want his daughter to get married because he dreads the thought of being left alone.

At the same time, he is a father who has no qualms about declaring that Piku "is not a virgin" and "is financially and sexually independent".

This, too, stems from self-interest: he uses his daughter's emancipated state to ward off potential suitors.

But Mr. Banerji also genuinely believes that it is "low IQ" of a woman to get married and devote the rest of her life looking after her husband and his home.

That is something that his own wife, a former teacher at Kolkata's la Martiniere School, had done. He does not want Piku to end up like her mother.

Not that the latter needs any prodding to keep thoughts of marriage at bay. Piku is fiercely independent and the men in her life, including her business partner, Syed Afroze (Jisshu Sengupta), are mere adjuncts.

The possibility of Piku and Rana developing an emotional bond with each other on a Delhi-Kolkata road trip remains just that - a possibility that stops well short of culmination.
Piku is not a romantic comedy although it has an entire strand that could have yielded a full-blown love story. That it does not only adds to its richness.

The drama in Piku is subtle and low-key. Not much of it bubbles forth to the surface.

It courses gently through innocuous scenes of domestic discord, alternating between the absurd and the emotionally enriching.

The drama is inherent in the little moments of disagreement and the sudden, rare flashes of consonance between the two central characters, and between the duo and the extended family.

The insightful writing (screenplay and dialogues: Juhi Chaturvedi) and Sircar's deft directorial touches fill every frame and every scene with delicious irony.

Piku isn't only about a man and his toilet travails. It is also about ageing, filial responsibility and nostalgia for what is gone forever.

Yes, Piku is also about the inexorable passage of time, which impacts everything - individuals, families, cities, cultures and belief systems.

Amitabh Bachchan, whose performance is otherwise effortless, tends to overdo the Bengali diction bit. What is worse, he does not get it right all the time.

That apart, there are passages in the film where Bachchan's presence works against the understated tone of the film.

It is Deepika Padukone who holds Piku together with a restrained star turn. She is believable all the way.

A characteristically confident Irrfan is, as always, pitch perfect.
Bengali singer-songwriter-composer Anupam Roy's musical score (his first for a Hindi film) is outstanding, enhancing the film's delicate emotional texture.

Piku is an absolute must watch.

Piku Movie Review

Saibal Chatterjee   | Friday, May 08, 2015


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BiraSaysWhaddup IF-Sizzlerz

Joined: 12 July 2013
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Posted: 07 May 2015 at 11:43pm | IP Logged
Gotta see it now 
solembaum Senior Member

Joined: 03 October 2009
Posts: 738

Posted: 08 May 2015 at 12:17am | IP Logged

Review: Piku may be the finest Hindi film of 2015

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Last updated on: May 08, 2015 10:58 IST

Amitabh Bachchan and Deepika Padukone in PikuPiku is a film with tremendous heart, raves Raja Sen.

We are never told Deepika Padukone's actual name in Piku.

A Bengali nickname is an all-conquering wonder, a sticky and stubborn two-syllable sound that a person is straddled with when too-young-to-object, and one that follows us to our graves. 

And so Deepika's character -- be it in office or living room or on a relative stranger's phone-screen -- is always simply Piku, and, despite the peculiarity or cuteness of the nickname, its usage has become matter-of-fact. 

The fact that throughout the film, we never dwell on its etymological origin-story and aren't concerned with what Piku means (or may perhaps be short for) illustrates honesty and a storytelling confidence rare to our cinema.

Shoojit Sircar's Piku is a special, special film. 

It is a film about a cantankerous old man grumbling about constipation, a film about a young girl who knows how to drive but chooses not to, and a film about a young man who just can't bear his mother. 

It is a film, then, about families and their foibles, about the small and large obsessions and habits that single us out for who we really are. 

It is a film with tremendous heart -- one that made me guffaw and made me weep and is making sure I'm smiling wide just thinking about it now -- but also a sharp film, with nuanced details showing off wit, progressive thought and insightful writing. 

Take a bow, Juhi Chaturvedi, this is some of the best, most fearless writing I've seen in Hindi cinema in a while.

Unlike Piku, her father has outlived most folk older to him -- the people who would have called him by a nickname. And yet Bhaskar Banerjee insists on a unique spelling, a Bhaskor to differentiate him from the Bhask-err types he might encounter near his Chittaranjan Park residence. 

Bhaskor-da, frequent follower of laxative advice and incorrigible salt-stealer, is an imperious old coot fervently obsessed with his bowels. 

This may or may not be a Bengali preoccupation, for ours is a tribe where mothers and wives glug Isabgol side-by-side before bedtime or, as I grew up witnessing, grand-uncles spend their mornings hopping about in the hope of generating the elusively mentioned "pressure."

All this, we've always been told, is not propah conversation. 

It is too intimate, too familial a topic to be discussed out loud or far away from the toilet. 

Chaturvedi and Sircar, however, clearly have a strange love for bodily fluids', and after making the nation titter about sperm in Vicky Donor, they take shit head on with this fine film. 

Unlike Mr Banerjee's motions, the laughs come quick and fast. Yet scatology is merely one affectionate used aspect of Piku

There is a road trip, there are arguments, there is affection, and all of that I leave for you to discover. This review is, besides applause, merely a celebration of detail and of craft.

Bachchan, as Banerjee, is a delight, hamming it up in the way old Bengali men do, posturing for family and servants and wagging his finger reproachfully at those outside the clan -- at one point he calls Irrfan "you non-Bengali Chaudhury." 

He appears brash and dismissive but this, as he says, is because he is "a critical person", which translates to him setting higher standards for those he loves. 

He'd be an old-school patriarch if he wasn't such a vociferous women's-libber, one who champions his daughter's sexual independence. 

Having said that, he remains so set in his ways that he sits in Delhi and relishes a month-old stack of Calcutta newspapers. It may be old news but it's the news he loves.

Irrfan Khan is characteristically flawless. Despite a less author-backed role than father and daughter, he imbues his character with enough authenticity to steal many a scene and give the narrative its consistency. 

It is largely for the benefit of Khan's Rana Chaudhury that the Bengalis speak in Hindi and English through (most of) this film's duration, and the character is fascinating. 

An engineer with a dodgy backstory, he's morally sound enough to berate a pearl-pilfering sister and feels the need to call out selfishness even in someone he likes. 

Khan's performance holds the film together, balancing the diametrically opposed -- and fundamentally similar -- father and daughter, sometimes by just a truly pointed look. 

One scene, where he glances at Deepika to necessitate a change of seating arrangements in the car, is an absolute stand-out.

Padukone is at her very best, the actress moving farther from her contemporaries with almost every successive film, and here she stuns with her casual body language and her inch-perfect intonation. 

She's impatient and short-tempered, wearing her otherwise-adorable dimples dismissively, like a no-nonsense shield. 

She knows when to prescribe homeopathic pills, and goes into enough graphic detail on the phone to wreck her dates. 

This tightly wound Piku is a demanding part, and the film pushes her. 

She rises to the occasion, and her performance -- which believably oscillates between a defiantly uppity woman to a girl half-proposing marriage with a mouthful of egg-roll and a giggle -- is spectacular.

And, as if that wasn't enough, Sircar makes Padukone say pachcha.' 

Piku uses this Bangla word for arse -- a cute splat of a word, with a tchah-sound built right in -- while at a dining table full of eagerly nostalgic relatives and Padukone plays the moment magnificently, her eyes twinkling and grin well in place, dropping her guard to say an uncouth' word and, simultaneously, thrilled to be saying it. 


The ensemble cast is spot-on, from the smug self-celebrating aunt played by Moushumi to Raghubir Yadav's doctor, who thinks nothing of ordering a few dozen boondi laddoos from an utter stranger, and it's lovely how Sircar uses them all. 

Just like he does Calcutta, making the city look big and sturdy and historic and, well, epic, without ever picture-postcarding it or resorting to obvious cliches. 

Except the cliches spouted by old Bengali men, pleased as punch to see their kids remembering old addresses long forsaken. (While on that, here's a joke Bengali fathers will appreciate: "What are bowels? Things that hold up many conshonants.")

There is an awful lot to love and appreciate in Piku, and, like the best of films, it sets you thinking but doesn't rush to point out quick-fix answers. 

"Not satisfactorily," like Bhaskorda reveals when asked how well a new bowel-coaxing remedy worked, "phir bhi kuchh naya karne ko mila." 

Sometimes the joy indeed lies in trying out something new, and Piku is just the tonic.

Rediff Rating: 

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TheRager IF-Addictz

Joined: 04 October 2004
Posts: 68613

Posted: 08 May 2015 at 12:20am | IP Logged
Doosra panauti bola. Only Masand left. Ermm
Star_girl IF-Sizzlerz

Joined: 22 June 2013
Posts: 11873

Posted: 08 May 2015 at 12:23am | IP Logged
Lol Raja Sen liked it. FLOP. 
dev22 Newbie

Joined: 27 March 2015
Posts: 39

Posted: 08 May 2015 at 12:28am | IP Logged
Today it has released. Surely see it in evening.

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