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First, the Recap:
How do you respond when what you believe is the path to tread ends up becoming instead the signpost pointing the way to the real finishing point we are to reach? Does it occur that we sometimes tend to miss what’s right in front of us while allowing our minds and supposedly valid desires to divert us towards what we want rather than remaining focused on what we truly need? What will be the catalyst that finally wakes us up? Thirty-something Nissam (Lalit Prabhakar) is a highly accomplished sous-chef with a potentially promising promotion awaiting him in Paris. His eyes always settle upon front office assistant manager Prajakta (Parna Pethe) yet his time seems to suddenly become more involved with the restaurant’s executive chef, K.R. Gowri (Sai Tamhankar). As all roads initially point to one direction in Nissam’s thoughts, circumstances arise that throw him into confusion and frustrating uncertainty about exactly what, and who, his actual future might contain.
Next, my Mind:
Screened during its run of showings as part of the 2021 Virtual South Asian Film Festival presented by Toyota USA, supported by AARP, produced by Jingo Ventures, and in association with DFW SAFF & NYC SAFF, this splendidly appealing and skillfully executed cinematic feature from director Mohit Takalkar, writer Irawati Karnik, and producer Vidhi Kasliwal truly is a Bollywood-level effort that beats with the foundational heart and soul of the independent film it actually is, the combination of which works so deeply, endearingly, and dramatically well, doing full justice to both degrees of the South Asian filmmaking community it heralds from while ultimately providing the viewer with yet another story that is wholly approachable, filled with charming charisma, but doesn’t allow itself to get TOO buried in its grander romantic currents to sacrifice the equally drama-filled instances that the film relies on melding together coherently to deliver its story. As usual, it’s the cornerstone component of this film style to simply be so real and accessible on a totally human plane of influence.
The narrative, which centers on a 30+ year-old sous-chef whose goals and opportunities to further his culinary career suddenly get a rather pronounced push into second place behind his more amorous pursuits, ebbs and flows with the soon acutely fluctuating emotional eddies that are created and starts to plumb the depths of its thematic endeavors into the pressures, expectations, and frustrations of family dynamics, chasing our dreams, overcoming our hesitancies, self-doubts, and unconfidence, seeking and/or listening to the advice of those who must might actually know better than us, perceptions and how they appear in our heads vs. what they truly are, letting our inner feelings be known, facing our mistakes, battling denial, receiving unanticipated viewpoints, and those moments of warmth when we genuinely know we are loved. These and still other dives into who we are as people and the ways we trip ourselves up to an extent of almost irreparably crippling our ability to recover successfully and gain what we really need are explored with substantial but not overly melodramatic aims.
As hinted at above, what made the film even more engaging for this critic was to have the multiple musical interludes in the midst of the story–aka: just like the larger mainstream Bollywood efforts–that fit so succinctly into the events here, briefly expanding the more heartwarming instances, and eliciting that lighter atmosphere of allure that makes you feel wrapped in a comforting blanket of playfully romantic overtones those numbers bring about, or at least they do for me. It honestly reminded me of how much I’ve been missing the Bollywood arena, and hence why it was a very welcome sight to have such elements in play through the context of an indie film offering like this one. Thanks to a significant but not pretentious or clichéd twist in the tale that does assuredly alter the trajectory of what we’ve witnessed to that point, it firmly and with sincere conviction allows the film to successfully steer itself to a winning finale that pays homage to a literary classic, but with a much more–happy–conclusion. And whether per chance you see the ending coming or are still pleasantly surprised, either way it’s a testament to the fashion by which so many South Asian efforts excel at delivering. It never gets old for this critic when it’s done right as it is here.
Prabhakar may employ his more than obvious attractiveness to his benefit, but don’t remotely believe that is what defines the actor, who turns in a proficiently polished performance here in his role as Nissim, an adult man who, despite his career path being on the rise, still might have some growing up to do when it comes to making other decisions. Hard working but affable and unassuming in demeanor, he soon finds himself torn between two women at the restaurant he’s at, causing building tensions within him and a flurry of choices he soon has to make in order to see his life equalize and move forward in the best possible manner. Through hard and easy times he finds himself in, Nissam’s journey is one of needed refinement and newly discovered confidence, and he is calmly but stringently self-deprecating as much as he can be quite fervently volatile, with Prabhakar negotiating these contrasts with excellent, steady, purposeful gravitas and whimsical innocense as the character demands.
Pethe has to be one of the most adorably fetching and outright cute actresses in the South Asian film community, in my humble opinion. But, just like Prabhakar, don’t let this lull you into a sense of her being any form of “just eye candy”, as she more than clearly demonstrates this with subdued but deliberate and steadfast resolve through her role as Prajakta, the restaurant’s front office assistance manager who seems to have eyes for Nissam and hence remains the subject of his overall fascination. Yet, as they two come closer and closer to becoming what we anticipate, factors are introduced that could shake the pair up and reveal a totally different magnitude of connection that could have unforeseen ramifications on Nissam’s understanding of what they are to each other. It’s a strangely subtle yet blatant shift that occurs, and Pethe so wonderfully directs her character through this with that aforementioned enchanting disposition and grounded believability.
There’s a more fiery, fierce, yet still utterly undeniable and irresistible beauty that ushers forth from Tamhankar that simply commands attention and it more than captures our notice here through her turn as K.R. Gowri, the executive chef at the restaurant Nissam works and who more than maintains control of her kitchen. When situations arise that bring her more directly into Nissam’s path, it seems like an unlikely union or even hint of one would occur. Yet, the more they come to know each other, it’s more Gowri that gradually begins to showcase a softer side, but it will take more storms of general tension and misunderstandings along with initially undisclosed facets of her life to truly reveal whether the two would ever become something more. It’s actually an intense role, and Tamhankar not only makes it look easy, but she manages to become just as endearing as Pethe’s character, even if she might take a slightly more ardent road to reach that place of vulnerability. It’s fantastic effort, a credit to the actress’ abilities.
Key supporting roles, like so many ensemble casts, abound here starting with a very stand-out effort from Sagar Deshmukh as Nissam’s best friend Shubhu, a fellow sous-chef having his own personal strife but still making every single effort he can to be there for Nissam as a voice of reason. It’s such a great mix of drama and humor Deshmukh provides, it’s masterful. Neena Kulkarni and Ravindra Mankani are Nissam’s parents Meena and Sharad, both who wish to see their son finally leave the nest, though Meena seems more adamant about it while Nissam encounters a conversation with his father that’s quite moving in its purpose. Neha Joshi plays Nissam’s sister Shalaka who also lives at the parent’s home while her and her husband played by Pushkaraj Chirputkar are awaiting a child and their new residence. Arundhati Nag is Nissam’s estranged and enigmatic Aunt Laxmi who ends up having a major impact on his journey. Ipshitaa appears as Shubhu’s long-suffering wife Poonam, and additional appearances are made by Spruha Joshi, Nachiket Chidgopkar, and a special cameo by the always awesome Radhika Apte.
So, in total, “Medium Spicy” lives up to its title, an entertaining, effective South Asian delicacy that feeds its way into your heart, fills you up with its delectable spirit, tasty designs, and wholehearted blend of drama and romance that should satisfy the palette of mainstream and indie film fans alike. Not sure still? Just be willing to give it a taste, as similar to Mikey and his Life cereal, I think you’ll like it.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
