WATCH THE TRAILER HERE
First, the Recap:
When we are experiencing the thirst just to be adored, treated with affection, and seen as important, will we not be willing to go to almost any length to try and gain it through whatever means we feel is applicable to our situation? It is such an affirming journey to seek real love out, especially from the ones closest to us we expect it from. But, what occurs when being shut out from this love ends up opening an unexpected door to new connection? Ila (Nimrat Kaur) is a wife sadly neglected by her apathetic and disconnected husband Rajeev (Nakul Vaid). One day, when she attempts to make a special lunchbox meal for him to be brought to his workplace, the cannister is misdelivered, ending up with an about-to-retire accountant and widower named Saajan (Irrfan Khan), who falls in love with the food, sparking a totally impromptu, imaginative correspondence-based relationship that will impact both of their lives in ways neither saw coming.
Next, my Mind:
Sometimes, it becomes a definitive challenge to make a splash in an industry replete with such deep levels of acumen behind the camera, and yet, the talent flows through beautifully completed works like this film, as well as the more recent “Photograph” as smartly implemented from fresh face in the South Asian arena, Ritesh Batra. Alone with this review’s highlighted film and the aforementioned newest effort, Batra has taken epic talent like the magnetic (and so sadly passed on) Khan, Kaur, and (now twice with) Siddiqui and brought us truly grounded, human stories that reflect an indie film heartbeat at their core, which for this critic is a healthy sign of superb directing talent, given that it is this style of filmmaking that needs to be more and more given the opportunity to shine outside the South Asian community and into the grander audiences in the U.S. and beyond. While Batra’s latest project was the 2019 “Photograph”, one very much hopes we have not seen the last of this capable leader in “The Chair”.
With a deeply affecting, marvelously accessible, beautifully entertaining, and absolutely necessary tone and manner that touches the heart on all levels, to multiple degrees, with a keen emotional punch, this feature film from writer/director/executive producer Batra, writer Vasan Bala, producers Anurag Kashyap, Guneet Monga, and Arun Rangachari, co-producers Shahnaab Alam, Marc Baschet, Benny Drechsel, Nina Lath Gupta, Achin Jain, Karan Johar, Sunil John, Siddharth Roy Kapur, Nitin Keni, Cédomir Kolar, Vivek Rangachari, Ronnie Screwvala, Karsten Stöter, and Danis Tanovic plus executive producers Lydia Dean Pilcher, Irrfan Khan, and Vikramjit Roy is a colorfully engaging tale of those most enduring and needed elements in life we pursue–the desire to be truly loved, appreciated, and cherished by another. Taking the perspective of this from both ends of the spectrum through its two primary protagonists and their journeys that surprisingly merge through a wrongly delivered lunchbox, it’s one of those fully heartening but also tangibly heartbreaking but hopeful efforts that needs to be seen and absorbed.
Conveyed through a narrative that finds a lonely housewife and adept maker of delectable cuisine unknowingly creating a nurturing, acutely personal, and lovingly charming connection with an older but equally lonely accountant on the verge of retirement who’s not-looked-forward-to “highlight” each day at the behest of his boss is to train the man who will replace him, the story is perfectly paced and unfolds with an air of both dramatic potency and undeniable whimsey as the two souls find more and more facets of their lives to correspond about, forming a bond that slowly begins to turn towards potential romantic interest. As this all is being explored, the films weaves in a myriad of associated thematic paths that cover love, loss, human compatibility, letting go, rejuvenation, being open to better understanding of interaction and tolerance of others we might normally wish to dismiss, the value and preciousness of life, the power of touching another’s heart and reality, and the influence and sway we can have over others (in a very positive way, mind you).
What I do admire and appreciate is that the film isn’t remotely shying away from some very hard circumstances these two individuals have or are experiencing, especially in the arena of varying stages of feeling abandoned/forgotten/left behind, and this simply allows there to be that totally relatable nature to the film that we as the viewer can encounter and apply in some form to our own lives. It’s the wonder of this style of storytelling that I feel is so often missed in much of mainstream cinema across the board, and while this project was considered a more mainstream release, I completely sense a heavily beating independent film’s heart at the core of this film, and that’s what makes it so appealing to view in this critic’s opinion. The writing represented here is such that we are entreated to a well-balanced meal of drama, humor and grounded sensibilities to a magnitude that you could actually see this scenario as a feasible one to occur, even if just a little fanciful. The finale is fantastically unostentatious and stirringly befits what we’ve seen with appropriate and intended reverberations that echo in mind and heart.
Kaur is positively magical through her role here as Ila, a still-young woman who’s had the misfortune of ending up in a marriage of one thanks to a sadly detached, workaholic husband who barely registers any true feelings of love towards her. Despite efforts to reignite what affection may still reside in their partnership, Ila decides to try and win him back through food, one day preparing him a lunchbox of her cooking. But, when said sustenance is not delivered correctly (at first unbeknownst by Ila or the service who normally prides itself on NEVER making mistakes), it finds its control over another man who begins to correspond with her through the now daily meals she prepares for HIM, not her absent husband. As feelings grow when learning more and more about each other’s pasts and presents, the question becomes whether this could actually lead to something more or not. It’s a quietly impassioned, thoroughly delightful, and profoundly moving picture of longing, determination, and vulnerability, and Kaur easily endears you to her through this performance.
As if it should be ANY surprise, character and lead actor extraordinaire Khan (DEARLY missed and gone too soon. R.I.P. to a true cinematic legend) does what he always did best–chew scenery and dominate any scene he was in. It’s no exception here as he flexes his more marvelously subdued but no less exceptional, energetic, and impactful acting chops via his role as Saajan, an aging accountant who’s about ready to call it quits. Made to train his replacement, much to his initial impassive chagrin, Saajan’s world takes a turn when a lunchbox lands on his desk that he has no idea who it would have been sent from. As this mystery is revealed, the playful and serious temperament he assumes with Ila brings a whole new revitalizing breath to his daily routine, even to the extent of, like her, wondering if actual possibilities for newfound romantic connection, but whether it could honestly play out to both of their benefit is in question. It’s just another example of not only the “everyman” type Khan excelled at, but his innate ability to constantly and easily capture you with genuine sincerity and indisputable charisma through a character was something rarely seen in the way he delivered it, and this was definitely a prime example of his acting prowess.
As clearly indicated above, it was VERY difficult to upstage or even closely rival Irrfan when sharing scenes with him, but this critic must give massive amounts of acknowledgement and credit to the actor who’s truly the other absolute star of this film, the current master of character acting in South Asian cinema for me, Nawazuddin Siddiqui (whom I had the humbling and awesome privilege of meeting in person in NYC in 2019!) through his role as Shaikh, the man being groomed to take over Saajan’s place at the accounting firm they mutually work at. An absurdly “clingy”, amusingly annoying person who hounds Saajan incessantly when being ignored by his supposed new mentor/teacher, Shaikh’s presence in Saajan’s sphere ends up taking on an unanticipated level of influence and cathartic release, and it’s a dynamic in the film that really adds a wonderfully entertaining and ultimately logical facet to Saajan’s journey, with Siddiqui wholeheartedly immersed in, focused on, and just nailing every moment he’s on screen with the amazing poise and incredibly magnetic personality he brings to the screen.
Other primary and splendidly acted supporting roles arrive through Lillete Dubey and Nasir Khan as Ila’s parents, Vaid as Ila’s effectively non-existent husband Rajeev, Bharti Achrekar as “Auntie”, Ila’s unseen but VERY present upstairs neighbor with whom Ila shares food and life-related conversations via an open window in Ila’s kitchen, prolific veteran actor Denzil Smith as Saajan’s boss Mr. Shroff, and Shruti Bapna as Shaikh’s wife Mehrunnisa among a host of others. So, in total, “The Lunchbox” is a sublimely executed, drama with humorous undertones that skillfully utilizes its intelligently written narrative, irresistible characters, and captivating premise to illustrate both the highs and lows of the ongoing search to see loneliness eradicated, real love gained, and the elegance of abiding human connection rediscovered. May we all learn these lessons to see a world around us made that much better. Perhaps over a succulent meal while we’re at it.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
