Director R.S. Prasanna works on this principle. Hereinbefore worked on by Javier Fesser in the Spanish film Campeones.
Starring: Aamir Khan; Genelia Deshmukh; Deepraj Rana; Dolly Ahluwalia
Direction: R.S. Prasanna
“Sab ka apna apna normal hota hai.” Director R.S. Prasanna works on this principle. Hereinbefore worked on by Javier Fesser in the Spanish film Campeones. While the original had its own soul, this Indian adaptation, though not rooted in the local cultural ethos, attempts to mirror the spirit of inclusivity and emotional depth. Written by Divy Nidhi Sharma, the story is laced with moving and profound statements that linger long after the scenes end: “Every home needs a dose of childhood”, "Kismat haathon mein nahi, chromosome mein likhi jaati hai”, “Mothers do not have a life of their own” and “Every home yearns for a child”.
Dealing with persons with intellectual disabilities, including autism and Down syndrome, the characters are handled here with care and occasional cinematic polish. In the world of Indian sports cinema, Aamir Khan’s involvement remains a hallmark of meaningful storytelling. Despite his recent underwhelming appearances, Aamir’s return in this film is an assured one. Apart from taking a tightrope walk on the challenges of persons with intellectual disabilities, Aamir throughout in excellent form leaves the audience in awe. A reminder of his return to his past and away from his ‘Thugs of Hindustan’ and ‘Laal Singh Chaddha’.
Aamir plays Gulshan Arora, a disgraced assistant coach at St Anna’s Basketball Academy in Delhi, suspended for physically assaulting senior coach Paswanji, played by Deepraj Rana. Estranged from his wife Sunita, played with restraint by Genelia Deshmukh, he returns to his mother Preeto’s house. Dolly Ahluwalia plays the mother with warmth and steel, and Brijendra Kala as their cook Daulatji brings in a quiet but effective presence. A judge, played by Tarana Raja, orders Gulshan to coach a basketball team of children with intellectual disabilities as punishment instead of jail time or a fine.
Initially resentful, impatient and battling alcoholism, Gulshan views the assignment with disdain. His new students include Kabir, a child with autism, Kavya, who has Down syndrome, and others like Tipu, Babli, Amol, and Roshan — each navigating life with unique neurological and emotional maps. As the film travels into the challenges of the competitions and the differently talented kids falling in line, one of the characters says, "We too are teaching him, and he will soon learn."
It is a unique turnaround of the pupil learning from the disarrayed student group. The underlying personal challenges that Gulshan faces at work, at home and the baggage he carries from being brought up by a single parent are all countered into a symphony in a film that has its handicaps but also multiple highs. The choice of getting a lady bus driver into the storyline is an interesting tangent on women's empowerment.
As with Preeto, the later love story between Preeto and Daulatji is a tad contrived in its positioning, yet engaging in its own way. The finale of the basketball tournament has an interesting twist in contradiction to what is normally expected. To a genuine sports lover, it could well be reflective of the world’s reaction to Australia’s failure in the World Test Championship final.
Some amazing performances — subtle here, direct there — embellish the texture and the textual quality of this Aamir film. Genelia is brilliant in the underplayed and understated role. Her introductory scenes show that it is not the length of the role but the impact it leaves that makes a character. The last dance steps by Brijendra Kala are a reaffirmation of the hidden talents of this underutilised actor. The on-screen chemistry that Genelia and Aamir share is endearing.
Aamir is brilliant. He has always been an intelligent actor, capable of translating even inane scripts into compelling viewing. The task of having to parallel a sensitive issue with the dictates of cinematic expectations dominated by contemporary political correctness is a challenge he overcomes with ease. Is it the work of Prasanna or Aamir? A moot question.
The final scenes after the match seem placed solely to showcase Aamir’s presence. Entirely unnecessary — by then, the actor has established his dominance, beyond doubt. However unnecessary and preachy, Aamir still outshines the context, the placement and the sudden dip in writing. The final sermon becomes loud, needless and trite. Even in preaching, knowing when to stop matters. As a result, a well-crafted film suddenly dips, leaving the viewer to end on a somewhat jarring note with the item song “Mangalam Subh Mangalam.”
