Ghoomer

 

Anina (Saiyami Kher) is a talented batter on the verge of making her debut for India and is on the brink of stardom. Sadly, fate lands a shattering and indelible blow that results in the amputation of her batter’s arm.

Just when Anina assumes her cricketing career is history, former ace cricketer and coach Padam Singh Sodhi aka Paddy (Abhishek Bachchan), who is also battling with his own demons, gives Anina hope.

Can Anina attain success and will Paddy manage to conquer his demons through his pupil is what the film is about.

I remember my differently-abled college lecturer, who said the following as he introduced himself to all of us during his first lecture:

'Just treat me the like you treat anyone else, pay no extra attention. I don't need pity. Don't offer support, I'll ask when I need it. I prefer the most vicious of insults to that abominable gaze or those horrendous words of pity"

He would have been pleased by the depiction in Ghoomer.

Redemption is the central theme of the screenplay by the director R Balki and writers Rahul Sengupta, and Rishi Virmani.

The writers much like Paddy refuse to allow disability to define Anina. There is no exploitative manipulation of the audience by the prolonged depiction of despair or characters weeping bitterly in the darkness. There is empathy but never pity.

We do witness the anguish and rage on the part of the protagonist who rightly feels life has dealt an unfair and harsh blow.

However, the focus primarily is on the efforts to overcome a seemingly overwhelming impediment. This focus is not on the suffering but on the recovery after the ordeal.

The world of Anina and Paddy may seem light years apart. While Anina’s world is literally sunny and replete with hope, whereas Paddy’s world is dark and lost in despondency and cynicism.

Yet we soon notice similarities.

Like Anina, Paddy was on the verge of greatness when it abruptly came crashing down.

Paddy now chooses to soften his pain with alcohol. 

When he isn't drinking he vents out by being unsparingly acerbic and brutally caustic with the humans around him without any concern of causing affront or distress.

He spends most of his time in his home which seems more like a den. This den is a metaphor for Paddy’s life and career seems in the middle of nowhere and mired with darkness.

Paddy’s only companion is his transgender household help. 

Once again the transgender character, played ably by Ivanka Das, is treated as an equal, which means she receives no pity from Paddy, he treats he like he treats everyone else.

Balki does splendidly extracting the best from every department.

The editing by Nipun Ashok Gupta keeps the pace brisk and even pushes you to the edge of your seat but never loses focus on the heart and the circumstances of the characters.

One of the major reasons the middle-class household of Anina and the den of Paddy seem realistic is the production design by Paresh Mestry, Sandeep Sharad Ravade, and  Nitin Wable, the set decoration by Elisha D'Souza, the wardrobe by Sakshi Sikaria.

The cinematography by Vishal Sinha effectively captures both the epic and the intimate without one overwhelming the other.

The casting is apt and is key in making the characters relatable.

One almost feels like we have met the doting and always supporting granny (Shabana Azmi does very well, particularly during the silent moments), a spiritually inclined father (Shivendra Singh Dungarpur is remarkable), and perpetually supportive brothers.

Sayami Kher does well depicting the agony and ecstasy as her character goes through her ups and downs.

The always mighty Amitabh Bachchan adds gravitas, heart, and humor during the film’s most crucial moments.

Then there is Abhishek Bachchan who continues to excel in his second innings that began with the excellent Manmarziyan and continued with Bob Biswas, Dasvi, Ludo, etc.

Abhishek is unique due to his innate laconic dignity and an aura of benevolence. He can effectively depict strength as well as vulnerability which is also very rare.

Abhishek possesses a unique mix of regular guy traits along with absolute star quality, perhaps Harrison Ford is the only other film superstar to possess that quality.

In Ghoomer, Abhishek doesn’t play Paddy he becomes Paddy. 

I watched an episode of Kaun Banega Crorepati with the team of Ghoomer hours before watching the picture. The amiable Abhishek on TV and the irascible Paddy on the big screen seemed like two distinctly different people.

Abhishek underwent a complete physical transformation for Paddy. 

It was not just about Paddy's external appearance, it was the manner in which he moved, the way he delivered his lines, and the manner in which Abhishek used his eyes to convey the contempt, angst, and despondency Paddy felt.

The credibility that Abhishek brings to the depiction of Paddy is because his transformation began internally. 

This does not seem like a performance i.e. the acting never ever shows. It seems real as if it is just happening and being captured on camera.

A key scene has Paddy pouring his heart out about how life hasn't turned out the way he hoped. Abhishek is brilliant not only with the words he utters but also with the anguish and gloom that his expressive countenance conveys.

Paddy is not one to suffer fools and Abhishek also adeptly handles the exasperation that occasionally erupts like a volcano when Paddy feels his pupil isn't giving her best. 

Paddy is a complex character it's not just what he is saying or doing but what is simmering beneath the surface. 

Depicting a character such as Paddy who conceals their emotions is always very difficult. In the hands of a less skilled actor, Paddy would have been a ‘negative’ character. 

But Abhishek never allows us to forget that beneath Paddy's seeming harshness is a kind heart. Abhishek manages to depict the compassion within the curmudgeon.  

Among the best on-screen portrayals of an alcoholic are Amitabh in Sharaabi and Shamitabh, Paul Newman in The Verdict, Nicholas Cage in Leaving Las Vegas, Sir Michael Caine in Educating Rita, Al Pacino in Scent of a Woman, and Albert Finney in Under the Volcano. Abhishek should feel very proud that his name just entered this very honorable list.

Abhishek surpasses his monumental achievement in Manmarziyaan to deliver a career-best performance as Paddy in Ghoomer.  Hopefully, he will be awarded and lauded for this achievement in acting.

For Abhishek’s flawless performance and the heartwarming story that is as inspiring as it is poignant and peppered with humor makes Ghoomer is essential viewing for all ages.

This is the fastest 2 hours and 15 minutes in recent memories at the cinema when you emerge from the showing there is a smile on your face and a warm feeling in your heart.

What more can you ask for?