Release: Friday, February 28, 2014 (limited)
You know you have an indie film on your hands when you’re sitting there, reading a plot synopsis about the misplacement of a lunchbox.
Indeed, this oft-underappreciated everyday object becomes the focus of attention in a truly unique and grounded-in-reality drama involving two lost souls seeking companionship in a chaotic and often disillusioning world.
The busy port city of Mumbai, India is simultaneously the most populated city in the country and the fifth most populous city in the world, and, being considered India’s financial, commercial and entertainment hot spot, is also home to several of India’s major film and television studios. A sprawling network of high rise buildings that jut out proudly above the low-lying canopy of ramshackle communities, the bulging mecca that is Mumbai swells with potential for wealth, power, success.
In a society that places emphasis on hard work and dutiful attention to church and family, everything has structure and everything seems predetermined, calculated. This is chiefly the reason why The Lunchbox appeals — its determination to break from structure and willingness to abandon societally accepted norms. That may sound like a cliché, but with any luck, a little explanation is about to go a long way.
Saajan Fernandes (Irrfan Khan) is facing retirement and has only recently lost his wife. He now exists in a drearily repetitious cycle that he has allowed himself to succumb to. Elsewhere, the young Ila (Nimrat Kaur) is married but unsatisfied with the present state of the relationship, so she’s attempting something new: cooking meals that she knows will please her husband. She is surprised when her first attempt at spicing things up is met with total silence from the hubby. That’s because in a rare mix-up involving Mumbai’s famed ‘dabbawalas’ — the people responsible for transferring home-cooked meals from the home to a person’s place of employment and back again at the end of the day — her lunchbox is taken to someone else.
Instead of going to her increasingly detached husband, the delicious meal she prepared is ingested by a very pleasantly surprised Saajan. The seemingly minor error turns out to be the spark of a friendship between two people who would otherwise be total strangers. Over the course of presumably several weeks (possibly months) Saajan and Ila exchange a number of notes that become increasingly interesting, even intimate. She shares her concerns about her husband’s emotional distance while Saajan fills Ila in on his worrying about retirement and the mourning of his late wife.
This is first-time direction from Ritesh Batra and yet The Lunchbox plays out with the conviction of a seasoned filmmaker. Batra’s choice to keep the main cast limited to just two wounded souls helps focus the project immensely. Somehow, the handwritten notes the two share through the lunchbox also helps to slow down the pace of life in metropolitan India just a little. Almost every development that occurs along the way is something elemental, something basic that we can believe actually might occur given the circumstances. There’s hardly a scene in which the drama feels forced or invented for perhaps no purpose other than to awaken audience members who were falling asleep in their seats, the ones who were expecting more action to take place. Maybe expecting the lunchbox to explode, or start talking or something even more bizarre.
Indeed, there’s none of that. There’s a lack of a cartoonish superhero design on this lunchbox, which makes some sense considering the film prefers to have feet planted firmly in reality. None of this is to suggest this film is uneventful or free of drama, though. In fact the narrative is wrought with tension at times and comparatively more light-hearted and upbeat during others. The Lunchbox is a film that prefers to highlight the imperfection of humanity rather than over-simplifying or overdramatizing it.
That’s a tricky tightrope to walk, in case anyone was wondering.
Recommendation: A pleasant, reality-based drama centering on an atypical relationship that develops in a most atypical way, The Lunchbox has broad appeal. Possessing subtitles and originating from India does little to hinder the film’s extreme ease of accessibility. The performances are a delight and its subject matter, though not wholly original, is given the benefit of the doubt given the unique cultural material that is used to progress the story. I don’t know about any of you, but I want my lunches delivered to me while I’m at work! And I’m not talking Panda Express, either.
Running Time: 104 mins.
Quoted: “Dear Ila, things are never as bad as they seem.”
All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.