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Times of India
An aspiring writer, Purushottam's (Vinay Pathak) laid-back attitude irks his Punjabi wife Nikki (Mugdha Godse), who wants him to be successful. This leads to constant fights between the two. Frustrated by this routine, he walks out of his house and accidentally lands up in a shady bar called Kukuji's ashram. Once there, Purushottam's life changes overnight.
The title suggests that the film could be a dark quirky comedy but that's not the case. In fact, for the longest time, you wonder what the point of this film is. While the husband wife arguments are still relatable, the protagonist suddenly discovering his gambling skills and striking up an unlikely friendship with a prostitute called Rubina (Raima Sen) seem inconsequential to the story. Rubina gets his book published without his knowledge and he in return has an issue with it being altered. While all this happens, you wonder where this is heading.
When you have a talented bunch of actors like Pathak and Saurabh Shukla (as Pathak's brother-in-law here), you expect the film to have some meaning. Unfortunately, that doesn't happen here. Amidst all the chaos and disagreements, you keep looking for a reason behind the story but fail to find one.
Guess the director wanted to send across a message that 'nobody is perfect and that we should be content with what we have'. Unfortunately, poor script and a tedious execution mar the intent.
इस फिल्म का टाइटल साठ के दौर में रिलीज हुई एक ऐसी महान फिल्म की याद ताजा करता है, जिसे आज भी भारतीय सिनेमा की चुनिंदा बेहतरीन फिल्मों में रखा जाता है। साठ के दशक में गुरुदत्त स्टारर 'कागज के फूल' की कहानी व्यवस्था और समाज पर एक सवालिया निशान छोड़ जाती है। विनय पाठक स्टारर इस फिल्म की कहानी एक राइटर के इर्द-गिर्द घूमती कहानी है, लेकिन पिछली फिल्म से इसकी तुलना करना सही नहीं होगा।
कहानी : पुरुषोत्तम त्रिपाठी (विनय पाठक) पूरी तरह ईमानदार और अपने बनाए नियमों पर चलने वाला राइटर है। पुरुषोत्तम एक नामी ऐड एजेंसी में बतौर राइटर काम करता है। लंबे अर्से से वह अपनी एक किताब 'एक ठहरी सी जिंदगी' लिखने में लगा है। इसे वह छपवाना चाहता है। किताब में प्रकाशक कंपनी कुछ ऐसे बदलाव करना चाहती है, जिससे पुरुषोत्तम अपसेट रहने लगता है।
अब पति-पत्नी में अक्सर तू-तू-मैं-मैं होने लगती है। ऐसे में शबीना (राइमा सेन) का निकी और पुरुषोत्तम की लाइफ में आना इस तनाव को इतना बढ़ा देता है कि एक दिन पुरुषोत्तम घर छोड़ने का फैसला करता है।
क्यों देखें : अगर विनय पाठक की ऐक्टिंग के फैन हैं, तो अपने चहेते स्टार की खातिर एकबार फिल्म देख सकते हैं।
I've watched many annoying Vinay Pathak holier-than-thou character pieces—where he plays variations of morally premature simpletons—but none as singularly infuriating, repetitive and surreal as this one.
It's time critics are put through a Punjabi-language crash course, because you can take Dilli out of Punjab, but films just do not take Punjab out of middle-class Dilli: shady characters named Kuku, 'oye!' shouting matches, and everything from wine to whiskey to beer is downed with glee. Pathak plays a struggling Hindi novelist married to the most horrific nagging housewife I've seen. She chides him for his idealism and lack of ambition, driving him away to the world of prostitutes and alcohol. Devdas shouldn't have been created, if these are the warped interpretations his story results in.
Miss Godse plays this ghastly woman, who quite frankly deserves to be shipped off in a sari to an island full of reptiles. Down the years, I don't think she's going to tell her grandchildren about this movie. The same goes for sultry Raima Sen, who plays a puzzling prostitute with intentions that are indecipherable, until she changes his novel title from 'Ek Thehri si Zindagi' to 'Ek Tharkee ki Zindagi'.
These script machinations and timelines are shallow (his Mastram writing is famous before he realizes he is published, wife chats over pakoras and beer while he is missing), and the characters so hollow (he spouts principles, love and loyalty for wifey while living in sin with Sen). Even prostitute backstories have begun to sound like a bad joke, especially when accompanied by sighs and sad violins. Even a crooked bar owner's wife goes into flashback mode here. Nobody must be spared. Everyone must be scarred.
I'm usually a sucker for stories about frustrated artists. But this one is presented in a dated and garish manner that makes you wonder if the filmmakers think this is actually a groundbreaking concept.