And when things starts heating up in the second half, there is only a slight hint. The first half of the film barely has any background music. Milliblog - "highly listenable multi-composer soundtrack!"ĭrama without dramatics – it has been so long since we have seen this that by itself it is refreshing. Let's hope it goes better with the film and adds to the experience.įirstpost - "ditch this album, and listen to the original versions of the only two decent songs" However, doesn't feel like it will overstay a one-time listen. However, there is an angle of brothers fighting over her rather than sacrificing with each other – which a pleasant (because it seems more real) contemporary air about it. But, beyond that it has a Yeh Dillagi feel to it – two brothers fall for the same woman. The heavy promotion on social media goes with the 'young' feeling the film has. Beyond that thought, the trailer becomes a combination of any ol' love triangle and family drama that you might have seen in real life. Off late, he hasn't disappointed with his performances and the rest of the cast looks like they are one with their characters too. And then you have the stunning makeover for Rishi Kapoor. I wanted a group hug and therapy.Anything with Alia Bhatt intrinsically seems like it brings a breath of freshness with it. The film’s biggest triumph is that by the end, I felt like I was a member of this family. Kapoor and Sons broke my heart in ways, big and small. When he made an impassioned plea to his grandchildren, I wept audibly. His ache is ferocious. And then, there’s Rishi Kapoor as dadu. The actor shines through the inch-thick prosthetic make-up. Then Rahul’s secret made me cry. Fawad is outstanding as the son burdened by his own perfection. Siddharth as Rahul seems fueled by a bewildered rage. She is guileless and beautifully unfettered. Each one steals scenes quietly – I first got teary when Alia playing Tia tells her story. But Shakun doesn’t showcase their visual appeal. Apart from Kar Gayi Chull, which I just can’t get out of my head, there are no concessions to their stardom. The actors breathe life into these moments. Sidharth Malhotra, Fawad Khan and Alia Bhatt are all startlingly attractive. If used too strongly, their good looks can make emotions feel fake. Unhappiness unfolds surely and softly, as it would in life. Even in the face of tragedy, the notes never go over the top. We are merely observing these people as they wrestle with their demons.
In the second half, as the Kapoor family fault lines deepen, the drama develops heft and becomes genuinely moving. But Shakun doesn’t change his understated style of storytelling. The narrative seems random and repetitive.īut stay with these people. It feels like director Shakun Batra who has also written the film with Ayesha de Vitre, is finding his rhythm. Disconnected scenes follow one another and even though the acting is uniformly good, the drama doesn’t grip you. It’s about characters, moments, textures and emotions. This is a very hard thing to pull off and the first half is a bit of a slog. Both are writers. Arjun is a part-time bartender in New Jersey who is trying to be a novelist. Rahul is, as his mother calls him, the “perfect bachcha.’ He’s an affluent, in-demand, published novelist, living in London. All his life, Arjun has felt that he is, as he puts it, just a runner-up. The family reunion soon turns sour. Old scabs are scraped and the hurt in their hearts spills over.īe warned that Kapoor and Sons isn’t heavy on plot.
The story is almost entirely set in the hill station of Conoor. An ageing grandfather has a heart attack.The grand children are forced to come home. And it’s about the ties that bind and the love that endures. The love, which ultimately allows us to do both – forgive ourselves and find redemption in our relationships. Kapoor and Sons is a portrait of human frailty. It’s about our flaws, our wounds, our losses, our resentments and regrets. It’s about the pain we inflict on each other – the slights, big and small.
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