Manmarziyaan: Abhishek Bachchan makes a triumphant return in a very engaging film

Storytellers through ages have made copious use of the romantic triangle to spin a myriad of engrossing yarns. Shakespeare used it in A Midsummer Night's Dream, Romeo and Juliet, and Twelfth Night. Literary classics such as Pride and Prejudice, The Great Gatsby, and A Tale of Two Cities were romantic triangles at their core as were cinematic greats such as  Casablanca, Gone with the Wind, Doctor Zhivago, Sahib Biwi Aur Ghulam, and Kabhie Kabhie. The theme continues to be used in contemporary films ranging from the urban romantic comedy Cocktail to the epic period drama Padmavaat. 

For a theme that has been put to such prolific use for centuries, the big challenge for the makers of Manmarziyaan was to be inventive and fresh with their story.

The story unfolds with Rumi (Taapsee Pannu) and Vicky (Vicky Kaushal) who's passions and hormones run equally high whenever they are together. One day they are caught in flagrante delicto by relatives and compulsions to get married begin to mount. But free-spirited and commitment-phobic Vicky is conflicted about the idea of a matrimonial union. Thus Rumi reluctantly abandons Vicky and agrees to an arranged marriage with London based banker Robbie (Abhishek Bachchan). What follows is a series of dilemmas that confront the principal characters. It’s just a question of if they ever find their resolutions.

The film is dedicated to Amrita Pritam and I suspect it is not a coincidence that it mirrors the author's turbulent love life involving herself, poet Sahir Ludhianvi and writer Imro. 

The master of cinematic darkness Anurag Kashyap and screenwriter Kanika Dhillon explore the many manifestations of the chaotic and complex world of relationships. Love may be a many splendored things, but its many complications and conflicts could make the journey seem potently perditious. Unlike most contemporary Indian comedies that involve weddings and relationships, the settings are not garish and over the top. Instead, this is a refreshing depiction of the fast-evolving lives of the young in fairly conservative middle-class settings of semi-urban Punjab.  

Despite their unconventional ways, there is no moral judgment passed, in fact, not once do we hear the elders pontificate morals to their offspring. Rumi, Vicky, and Robbie are merely victims of circumstances who following their heart rather than their mind. They act impulsively and regret their actions, they attempt to make amends but then go back to being impulsive. Their choices may seem impractical and even ludicrous, but life is not always about calculative decisions, sometimes it takes a leap of faith to reach the stars. 

Kashyap and Dhillon never allow the effort in dealing with these complexities to show, this is a tale that is rich in layers of nuances. The depth is there for those who are willing to discover, those looking for an enjoyable outing at the cinema will be thoroughly entertained by brisk pace, clever dialogue, and the light touch. Facebook friend requests working wonderfully to add a touch of lightness in deeply poignant moments.

Kashyap even uses Felliniesque symbolism throughout the film to depict the internal conflict of the characters. One of the highest points in the film is its riveting culmination that unfolds in the form of an understated but effective (anti)-climactic scene. This scene lasts for a few minutes and has almost no cuts, but highlights the high caliber of the actors, writer, director, and editor.

The vibrant city of Amritsar is an important element of this film and is brought to life by Sylvester Fonseca’s masterful cinematography and the excellent production design. The Punjabi folk-based music by Amit Trivedi works effectively to elevate the film in its many moods of agony and ecstasy.  Despite the film’s running time of 157 minutes, the pace never seems languid, largely due to the taut and inventive editing by Aarti Bajaj.

Stanley Kubrick once said that apt casting is half the battle won for a filmmaker. The three principal characters and the entire supporting cast fit their parts so well, that you almost forget that they are actors. A special mention is deserved by the twin dancers Priyanka and Poonam whose energetic synchronized dancing is quite a marvel, keep a close eye on how they cleverly used to as a motif all through the film. Among the principal characters, Taapsee Pannu plays the boisterous and impulsive Rumi to perfection while Vicky Kaushal nails his character of the carefree Vicky adeptly but also captures his sensitivity beautifully. 

But it is Abhishek Bachchan who is quite the revelation. He was always a unique presence among his contemporaries largely due to the laconic dignity and air of benevolence that he exudes quite naturally. In the era of steroid musclemen, thugs, and wise guys, his is a presence that emanates class, dignity, and vulnerability. Abhishek possesses a unique mix of regular guy traits along with absolute star quality, Harrison Ford is perhaps the only superstar to have that quality.

Abhishek was excellent in films such as Yuva, Sarkar 1 & 2, Paa and Dum Maro Dum but recent roles did not merit his talent, causing Abhishek to (wisely) opt for a sabbatical to rediscover the actor within. With Manmarziyan, he could not have asked for a better film for reintroduction. Robbie is not the one-dimensional 'boring nice guy ready to sacrifice it all’ angle of this romantic triangle, instead, he is a complex individual whose past has played a huge part in dictating the manner in which he chooses to lead his life. On rare occasions he allows his impulses and instincts to take over.

Abhishek’s nuanced performance captures all this effectively, often allowing his eyes to convey his emotions much more than his dialogues. Abhishek effectively portrays a broad range of emotions from the lighter moments where he tries to charm his new bride to the simmering frustration of not managing to establish a bond. Abhishek adeptly handles the utter exasperation and the seething revulsion that erupts like a volcano in moments of betrayal.  We even find a clever nod to a famous line from a blockbuster of his illustrious father during one of the lighter moments. There is not a finger out of tune in this performance, a glorious return to form. If Abhishek continues to choose his scripts and directors wisely it will be the great re-emergence that he eminently deserves.

In the end, Manmarziyan was never meant to be a radical departure from convention, but it does accomplish the difficult task of injecting new vigor and freshness to the romantic triangle and transporting it to contemporary time with a great deal of color, passion, and zest but its feet planted firmly to the ground.  

This is a film, not to be missed!