The Great Indian Lottery. Review on Malaamaal Weekly

I had just completed the appraisals of my firm and after having been held hostage to the antics of the management and my team negotiating and re-negotiating their deemed worth to the company’s coffers and having had to put up with some of the most brilliant real life performances of hysteria and emotional blackmail and after unsuccessfully trying to replicate the same to a stoic unemotional boss, I finally decided I needed a break and what better way to do so then to visit my favourite theatres. Having completed the rounds of most of the defining movies of 2006, a theatre showing ‘Malamaal Weekly’ intrigued me endlessly (Actually, my wallet had refused to cooperate with the high rates of the big flicks, what with no real increment worth its name!) and since my favourite Priyadarshan had directed the film, I decided to have a look and was happily not let down by my decision.

Money makes the world go around and sometimes it makes us all go aground. I was bowled over by this simple dictum and thought that I would really be interested in understanding the ‘aground’ part of the dictum. I need not have worried for unlike the formula fare that pervade and permeate our movie fabric, Priyan as usual was completely ready with the best example of the assertion. Only you need to imagine a little and considering the state of my purse… that was hardly difficult! Imagine a village where the average GDP stands at a few hundred rupees and then suddenly somebody wins a lottery worth a crore. Well… I can imagine the consequences. This could have made for a brilliant piece of cinematic black comedy but hats off to the genius of Priyan for converting such a dangerous premise into a full-blooded exceptional comic treat.

Priyadarshan has once again proved why he’s one of the top-notch top directors of all time by this simple movie that neither boasts of a top-notch leading star cast or an exceptionally brilliant musical extravagance but still manages to stay true to it’s basic premise by extracting the best work out of an ensemble of the most talented stars and a simple unobtrusive script and minimal direction. One of the highlights of the movie is the combination of Paresh-Om-Asrani and the fact that in the time of ‘Shahrukh or sex sells’, these actors with hardly a fan following could carry it off on their able shoulders speaks a lot for their talent and the director’s vision and confidence.

Paresh Rawal is undoubtedly one of the most under-rated actors of modern Indian Cinema. Despite giving some of the best performances of Indian Cinema in recent times, the actor has hardly been given his due as a thespian. In this movie, Paresh enacts the role of Lilaram, the only literate man in a poor, underdeveloped and illiterate village with consummate ease. As a man who can barely make ends meet and who suddenly learns of one of his tickets winning a crore and then schemes to get the money; the actor is not only comfortable but plays the role of the indefatigable man of a steely determination but a malevolent fate with panache. His frustration as well as his pragmatism is all well enacted. Likewise, his negotiating skills that can bring a smile on the lips of a hardened pessimist

Om Puri as the brash and hotheaded Ballu is more brilliant than brilliance can be. In this movie, Om is the perfect counterfoil to the ever-persevering and pragmatic Paresh as only he can be. An excellent actor of all times, Om’s performance needs no recommendations but can actually be a source of performance for those over-dressed but under-performing stars of the telly world and of course Indian Cinema. Each and every scene is a treat in itself but if mention has to be made, one can easily recollect the scene in the church when Ballu is forced to play Anthony for the money and the entire ensemble acts as if it’s Ballu’s cremation ceremony. Om is exceptional in the scene and carries it on his own shoulders.

Asrani shines among the other performers. The actor has grown leaps and bounds and is at his vintage best as in the Hrishikesh Mukherjee films of the 70s before falling into the formulaic rut of the 80s. His confrontations with Om are brilliant and one feels that if any could match Om scene to scene it has to be the wily Asrani. One can see his brilliance in the scene where he nonchalantly and shamelessly tells Om to deduct his money from his share of the booty although he’s not even a party to the deal. Another scene worth noting is the scene wherein Paresh is delivering a eulogy to Om while Om is in the stands with a sobbing Asrani. Mindblowing!

Ritiesh Deshmukh finally manages to perform, maybe because he had nothing to do other than act victimized and the actor appears to be adept at it. Reema Sen looks too old and jaded and the screen jodi of Ritiesh-Reema lacks chemistry. Arbaaz Khan is adequate in his role, although it beats to see him perform in such tidbits.

Shakti Kapoor manages a restrained performance after a long time. Sudha Chandran looks like one out of the comic books, a vampish character that makes you laugh at her antics. Rajpal Yadav for once overacts and is a jarring point in the narration. Sona Nair impresses in her short role as Lilaram’s wife, adding emotional depth to the movie while Rasika Joshi as Anthony’s sister digs into the role of the money digger with relish.

Innocent, the Malayalam actor who plays Anthony manages to loom large despite having a very small role. The only letdown being Tiku Talsania’s voice that fails to match his on-screen performance. After Satish Shah in ‘Jaane Bhi Do Yaaron’ this is definitely the most convincing portrayal of a corpse.

The sets by Sabu Cyril are fantastic but the director needs to pay some attention towards the music. After all, one cannot visualize Raakhee Sawant dancing in skimpy outfits while listening to the music. The music is indeed a dampener.

Priyadarshan again manages to build a brilliant story out of a slender thread and also to give flesh, blood and structure to the film. This is indeed a major feather on the director’s scalp and considering the fact that this was done without the presence of any heavy-duty star cast is enough reason to celebrate. Keep it up, Mr. Priyadarshan.

I am taking my boss out to this movie along with my team. I hope, I do not end up having to reprise to role of Innocent in my next reviews. In the meantime, a 50% increment will definitely do!