Death is a sad event of life. But many films in Bollywood have also presented this inevitability in a mild or derogatory manner. For example, let’s go friend , Salute of Onekis Toppon , Daddy Cool BUDDHA MAR GAYA , Malamaal Weekly , pushpak , Nehle Pe Dehalla , etc. Now Seema Pahwa’s directorial debut RAMPRASAD KI TEHRVI also promises to throw light on death. So does Ramprasad Ki Tehrvi manage to entertain and impress the audience? Or does it fail in its attempt? Let’s analyze.
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RAMPRASAD KI TEHRVI is the story of a family that gathers together after centuries due to a tragedy. Ramprasad (Naseeruddin Shah) is an aged paternal grandfather who suddenly passes away while teaching piano to a neighborhood child at his home. He lived with his wife, whom everyone addressed as Amma (Supriya Pathak). His sons and daughters live in different parts of the country. It is obvious that as soon as they got the news, they all ran towards Ramprasad’s mansion located in a small house in Uttar Pradesh. In what should have been a period of mourning for the family, chaos results as a resurgence of past wounds. He is not covered by Seema (Konkana Sen Sharma), wife of Ramprasad’s youngest son Nishant aka Neetu (Parambrata Chatterjee). This leads to gossip and speculation among the wives of the other sons. Meanwhile, since Ramprasad passed away on 19 December, Pandit announced that Tehrwik So it will fall on 1st January. This causes arguments in the family as some people feel that it would be strange for people to attend such a ceremony on the first day of the year. The problem is solved and then, another problem arises. Ramprasad’s children learn that the Vice-Chancellor had opted for a loan of Rs. 10 lakhs and he paid only Rs. 3 lakhs. It is now his responsibility to pay the remaining amount. On reading his diary, it is revealed that he took this loan because his children were demanding money from him. This Revelation Leads to Another Round you hand. Amma feels alone in all this chaos. Meanwhile the grandchildren are least concerned about their grandfather’s death and are having a fun reunion. he realizes that it will be difficult for him to live in mansion all alone. Even if she wants to be with her sons, it seems that they will not be ready to accept her. What happens next becomes the rest of the film.
Seema Pahwa’s story is promising. The biggest strength is that it is very reliable. Everyone has been in the situation shown in the film. So, one can’t help but relate very well to a lot of events in the film. Seema Pahwa’s script, however, is inconsistent. Some of the scenes and clashes are very well thought out and carved. On the other hand, the film slips in the second half as important details about some important characters are left out. Seema Pahwa’s dialogues are realistic and situational. However, the funny dialogues of Prakash Bade Jija Ji (Brijendra Kala) seem redundant.
Seema Pahwa’s direction is quite neat in the first 30 minutes. The way she sets up the setting and mood makes for an engaging watch. Some characters like Seema look very interesting and a lot could have been done here. However, one has to wonder why Seema Pahwa left out the backstories of some of the characters. This is especially the case with Seema’s character. One fails to understand what wrong he did to Neetu and her family. It is not that she was the only daughter-in-law who lived away from her in-laws’ house. of the rest daughter-in-law Also separated from Ramprasad and Amma. Also, in the end, Seema’s change of heart makes her realize that she will ask Amma to stay with her. The build-up looked like this. When she doesn’t, one wonders why. Perhaps, she had issues like the other daughters-in-law and was not ready to take the responsibility. But this bit should have been explained better. Meanwhile, Rahul (Vikrant Massey) craving for Seema personally sounds like a great idea, but looks a bit forced. The final scene is heartwarming but comes on very suddenly.
Ramprasad’s Tehrvi has a good start. No time is wasted as Ramprasad passes away in the very first scene itself. From here on out, it’s a fascinating watch as all the crazy characters come and create the madness. Some scenes stand as though the four brothers are drinking and expressing their long-suppressed anger. Also, the scene where Amma hides behind a pillar and sees everyone having a great time while she is mourning the demise of her husband. After the interval, the film becomes very serious. Many people who go for the film after watching the trailer and assume that it will be a light-hearted film will be in for a surprise or rather, in shock.
RAMPRASAD KI TEHRVI is packed with some great performances. Naseeruddin Shah is dependable in the cameo. Supriya Pathak is the best part of the lot. One can feel the pain of his character. Konkona Sen Sharma is pretty decent as expected but disappointed with the weak character portrayal. Parambrata Chatterjee has done a great job. Vikrant Massey is excellent. Vinay Pathak (Pankaj), Manoj Pahwa (Gajraj) and Ninad Kamat (Manoj) make an impact with the way they have excelled in their respective roles. Saadia Siddiqui (Pratibha), Divya Jagdale (Sulekha) and Dipika Amin (Sushma) also do well but after a time their gossip starts repeating itself. Anubha Fatehpura (Queen; Elder GG) is convincing, while Sarika Singh (Dhani; Younger GG) is very good in the scene where she talks to Amma at night. Manukriti Pahwa (Bitto; who falls for Rahul) is quite alive. Brijendra Kala, Sawan Tank (Time), Nivan Ahuja (Able; Neighbor), Shikant Verma (Basant Chhote Jija Ji), Yamini Das (Mami Ji), Vineet Kumar (Mama Ji), Rajendra Gupta (English speaking Tauji) and Mahesh Sharma (Vinod, who was with Tauji) is good. Lastly, Sanah Kapoor as Choti Amma is quite memorable.
Sagar Desai’s music is forgettable. ‘an unfinished business’ Registers when in an interesting position. like the rest of the songs ‘Jo Ghum Hua Hai’, ‘Aisa Hai Kyun’ and ‘Bulawaya Aaya Re’ Don’t leave a mark. Sagar Desai’s background score is subtle and woven in well with the narrative.
Sudip Sengupta’s cinematography deserves praise. There are many long takes that are captured very well by the lensman. Darshan Jalan and Manish Tewari’s costumes and Parijat Poddar’s production designs are straight out of life. Dipika Kalra’s editing is fine but one wishes Seema and Nishant’s flashback scenes get more screen presence
Overall, Ramprasad’s Tehrvi story is very interesting, but fails to make the desired impact as the second half is too weak. The film will face tough times in the theaters and ideally it should have been released directly on the OTT platform.