What irks one the most is the lecturing tone to explain the value of rituals and how science and faith can coexist. The premise is moving but as it pans out, we discover that the characters are underwritten, the scenes are overwritten, and the conflicts are half-baked. Seema Pahwa’s Ramprasad Ki Tehrvi and Umesh Bist’s Pagglait are two noteworthy works in this space in the last one year.īahl attempts a tearjerker by combining the two templates, and it fails only to make us appreciate the craft of the likes of Mohan Kumar and Ravi Chopra who made us shed copious tears. Then there is another set of films, inspired by Death At A Funeral that explores the bonds, conflicts, and family politics when friends and family get together to say a final goodbye to the deceased. In the last decade of his career, Kader Khan fuelled his career by writing and acting in such films where the adopted sons, daughters and animals are shown to be more caring towards the aged parents than their progeny. From Rajesh Khanna’s Avtaar and Swarg to Amitabh Bachchan’s Baghban, the list is comprehensive. In fact, after every few years, Hindi cinema comes up with a family film that focuses on how elderly parents feel ignored and cheated by their children. Poignant and preachy, this is not new terrain for the audience of Hindi cinema. Storyline: When Harish loses his wife Gayatri, the funeral reunites the family members, and the shared grief helps stitch bonds that they seem to have forgotten. Harish’s adopted son Angad (Sahil Mehta) responds to stress by overeating, while the youngest Nakul is unreachable. The elder son Karan (Pavail Gulati) is unable to take his mind off the board meetings and his American wife Daisy (Elli AvrRam) struggles to fit in. Having missed the last phone call from her mother, his advocate daughter Tara (Rashmika Mandanna) is angry and the fact that she sees no logic in these rituals only adds to it.
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Harish wants to follow the rituals but has no clear idea of how to go about them. His children are busy with their work and partying, and the neighbours are more interested in gossip and providing perfunctory advice. When Harish (Amitabh Bachchan) loses his wife Gayatri (Neena Gupta), he doesn’t have any shoulder to cry upon. In Goodbye, writer-director Vikas Bahl explores how different people have different ways of coping with grief. Pandemic made us realise the fickle nature of life, and stories that explore the ache and anguish that comes from the unanticipated demise of a family member feels all the more real.
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