Short Film Review “Maaybaapache Aashirwaad (Blessings)” Going to bat for your child’s well-being takes on a very twisted, laugh-inducing shape
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First, the Recap:
Extenuating circumstances. It stands as a certifiable fact that when push comes to shove, and our own idea of what a given outcome SHOULD be, especially when it involves someone we love and cherish, we at least CONSIDER doing just about anything to make sure things work out in our favor. The ability we have to find any explanation that backs up our actions or choices is sometimes quite unnerving in many respects, and if placed in the context of parent’s defending their children’s best interests, there gloves are off…..right??
For HIGHLY doting parents Suryakant (Suhas Sirsat) and Sangeeta (Smita Tambe), their son Dharma (Ayan Pathan) IS their world. However, this father and mother also have a disquieting secret associated with his childhood. Now an adult, Dharma (Swapnil Kanase) is moving forward with his wife-to-be Priyanka (Pratiksha Khasnis), and the long-hidden past kept so closely concealed but then accidentally “outed” thanks to poor judgement by Suryakant, may suddenly come to light even more! Oh, but what are a pair of dutiful, and desperate, parents to do??
Next, my Mind:
Necessary urgency, extremes in decisions, and the entire concept of what it is to be overprotective parents gets utterly, candidly, yet hilariously re-defined through this amazingly entertaining yet undeniably disturbing 15-minute short film from writer/director Apurva Bardapurkar, producer/editor Sumit Kanjilal, co-producers Devanshu Singh, Satyanshu Singh, Suddhasattwa Roy, Srestha Kanjilal, Joydeep Paul, Shouvik Biswas, Anshuman Agnihotri, Saurav Chowdhury, Amruta Mahajan, Amrapali Mahajan, Vibha Kalantri, Sarika Saste, Sudarshana Thigale, Ateesh Chattopadhyay, Sourav Sarkar, Nitish Joshi, Anubhav Mishra, and Vivek Shukla, executive producer Ayusmita Banerjee, and associate producer Jitin Hingorani. It would be no understatement to say this film is another fantastic example of unmitigated artistic boldness and originality as delivered through the unique eye found within the South Asian film community, and the darkly comedic nature of something that really should not BE funny at ALL is what makes this a film of pure creative genius.
The narrative presented sees a familial history lesson, in the past then current, that is BOTH loving yet ultimately unhinged when a harsh situation involving one of their sons occurs, haunting the other and putting his grief-stricken, yet deeply over-possessive parents into panic mode when truths inadvertently come out and…..objectives…..manifest to “correct” things for the sake of their child. Now, once more, even with the hinting of tragic events that drive this story along from the start, the sheer brilliance of this film is how it finds the HUMOR in it all rather than just causing us to languish in nothing but a more somber, heartsick state of mind. Yes, the jocularity IS DARK, purposefully intentional as such, but you DO laugh at watching as the study in faltering logic born out of pain gets taken to its extremes, then debated and stewed over, by those making it happen in a manner that simply warrants the chuckles. It isn’t attempting to ACTUALLY endorse the degrees of insanity things reach, but it DOES form a more than compelling illustration of what people consider carrying out when up against it and not wishing to be exposed.
For the sake of “betterment” for everyone, of course. This is a blunt force exercise in humanity run amok and the admittedly potent strength of rationalization and/or justification for our decisions, even when placed in the realms of totally heinous acts. But this remains what provides the film’s underlying ambiance of amusement and just an air of disbelief in what these two parents are doing for the sake of not wanting to FACE the reality of things. Plus, an additional point of mirth associated with their now adult son’s fiancé and the line of work she wishes to engage in is just riotous in its placement here. Continuing the mayhem the way it is conveyed only escalates as the proceedings move ahead, culminating in one absolutely winning finale that sums up everything we’ve seen with even sharper (albeit gritty) wit and that wonderfully imbued sense of ongoing unease you’ve felt throughout the entire film. You UNDERSTAND in general principle why the parents have done what they have, yet then carry a sense of hesitancy for BELIEVING you felt that way. It’s just masterful, the unadulterated wonder that IS indie filmmaking and its nonconformity to “the norm”.
Sirsat is a marvel, bringing about a character that is both affable yet also perhaps a BIT too deliriously gung ho about taking certain steps to maintain a “mum’s the word” control over quickly deteriorating circumstances via his role here as Suryakant. A father who wholeheartedly loves his family and assumedly seems LIKE the a man who would do anything to keep them safe in any form, the situation at hand not only boils over, but gets definitively OUT of hand, even as Suryakant tries his level best to ease his son’s guilt, much less eliciting more than enough collusion with his wife to keep secrets and the existing “narrative” of events molded to THEIR liking, not the truth’s. So, from friends of the family/houseguests to their remaining son’s fiancé, will anyone be free of Suryakant’s machinations that he’s really been put up because of his OWN misstep in accidentally sharing a tad too much, but is then virtually obsessed with? It’s total chaos, and watching Sirsat navigate his character through it all is just flat out entertainment at its best while still leaving an indelible mark on you in the character’s actions and mindset.
In very similar manner, but yet smartly altered in overall execution of attitude, Tambe is equally entertaining in her role here as Sangeeta, Suryakant’s wife and most definitely a doting, supportive, and, initially, conniving mother who only wishes the best blessings on her son Dharma, who’s faced a tragic plight in his childhood that lingers in his head. Even when it occurred, Sangeeta was the voice of “reason”, insuring that the “real” story was put into place to assuage Dharma’s sense of accepting what happened in order to shift his awareness of events so he wouldn’t be plagued by it anymore. This soon takes on a MUCH too direct approach in hiding what’s true when unexpected scrutiny starts to develop and drastic choices begin to be what’s “needed”. However, Sangeets might begin having second thoughts about her and her obedient, now “out there” husband’s constant aims for “resolving” their dilemma when it becomes even more consummately “hardcore” and the immediate choice to follow rather than ACTUAL common sense! Tambe is a gem, causing you to both laugh and be in shock at her own character’s actions, yet still be strangely sympathetic.
Kanase, as the adult Dharma, is yet another magnificent performance in that the actor must play the character as both guilt-ridden but then potentially liberated from this, arriving at a place of acceptance, while not having ANY idea what his own parents are up to for his “benefit”. This is deftly and beautifully portrayed through Kanase’s ability to do precisely that, with understated energy, which only makes the character in many respects an “oblivious” point of comedic fodder as Dharma is serious, straightforward, and only trying to move forward with his life and upcoming marriage, not remotely clued into what Mom and Dad are carrying out! Likewise, Khasnis turns into a second witty supporting presence just by being IN the scenes she is with Dharma and, more so, his parents through her role as Priyanka. Dharma’s fiancé whose career path alone is, to say the least, the LAST thing Suryakant and Sangeeta need in their lives, Priyanka is unaware that this could be the LAST family she will ever know if events keep on track. Because of this unassuming situation, it only makes Khasnis’ performance even more notable and worthwhile to watch.
Additional supporting turns are made here by Ayan Pathan (the child version of Dharma whose character sets the stage for all we end up witnessing), along with Swapnil Sarode Akshay Patekar, Preshit Rudrawar, Datta Lakare, and Rushi. So, in total, “Maaybaapache Aashirwaad (Blessings)”, is a supreme testament to South Asian and independent film’s uncompromising, fearless, and candidly original approach, taking on a theme that shouldn’t be at all funny and turning it into a devilishly clever, wholly engaging, jaw-dropping romp that will leave you cringing and smiling at the same time! It’s what this critic loves about the ART of filmmaking and those who aren’t afraid to push boundaries that make us think while providing us worthy visual diversion.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
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