Ramprasad Ki Tehrvi
In
Ramprasad Ki Tehrvi, the camera is both an ostensible creative decision and a standalone character. Any other day, I would be happy to cite both as showcases of a director’s inspired adeptness. Not today.
The film opens on a familiar-looking house in the dead of the night. The camera floats through an open gully, then stops, recoils as if it hasn’t made up its mind, spots an open corridor, drifts through an open courtyard, through another corridor, straight into a room with a boy playing a piano, eventually settling to stand on the far corner of a room.
Death As Agency - Ramprasad Ki Tehrvi & Paglait A Comparative Analysis
Death, in Hindi cinema, has been used as highly dramatized melodrama inviting the audience to pull out their handkerchiefs and cry along with the mourners in the film.
At times, the melodrama is exaggerated to extremes even in an otherwise classic film like
Guide directed by Vijay Anand, or, in Bimal Roy’s
Devdas which however, was a faithful translation of Sarat Chandra Chatterjee’s literary classic.
Exaggerated melodrama has become archival in very significant films such as
Sholay, Deewar, Fanaa, Baazigar, Darr, and many more films much to the detriment of the beauty of the films but very fruitful for the box office.
2.0
Ramprasad Ki Tehrvi Movie Rating
Death is a tragic phenomenon of life. But several films in Bollywood have presented this inevitability in a lighter or even in an outrageously funny way. For example, JAANE BHI DO YAARO [1982], EKKEES TOPPON KI SALAAMI [2014], DADDY COOL [2009], BUDDHA MAR GAYA [2007], MALAMAAL WEEKLY [2006], PUSHPAK [1987], NEHLLE PE DEHLLA [2007], etc. Now Seema Pahwa’s directorial debut RAMPRASAD KI TEHRVI also promises to have a light take on death. So does RAMPRASAD KI TEHRVI manage to entertain and impress viewers? Or does it fail in its endeavour? Let’s analyse.
RAMPRASAD KI TEHRVI is the story of a family assembling together after ages due to a tragedy. Ramprasad (Naseeruddin Shah) is an old aged patriarch who suddenly passes away while teaching piano at his house to a kid in the neighbourhood. He resided with his wife, addressed as Amma (Supriya Pathak) by one and all. Their sons and daughters live in different parts of the country. Obviously t