Last year when I gave a much appreciated high star rating to ANGREZ, then I was pretty sure that this kind of subtle, realistic and impressive lovable period drama would be too hard to surpass by any talented team of Punjabi Cinema in the near future. But the makers of ANGREZ only proved me wrong within the next year itself and they came back with another ace up their sleeves as BAMBUKAT, which is once again a period family drama that simply wins your heart in the very first minutes and then calls for a repeat viewing too, bringing along all the family members.
CINEMA as I see it means fresh-innovative stories presented before the audience contributing into the growth process of the makers as well as the viewers together, and BAMBUKAT is a perfect example of the same unarguably.
An emotional yet entertaining take on 'Saandu /Saadu Comparison' that has been rarely adapted as the main subject of any Punjabi project before, the film deserves more praises for its producers who thankfully found the courage to support and finance a take on such potential yet highly unconventional theme believing in their creative team of writers, actors and the director.
For friends not familiar with these regional terms, SAANDU/SAADU is the name given to the relation between husbands of two real sisters who always face a comparison in every culture, region or community. And BAMBUKAT is a lovable name given to A BIKE or MOTORCYCLE in the local Punjabi slang, which was more famous in the past decades before the 70s.
Beginning with a very fine jail-sequence giving you the feel of a period film, BAMBUKAT makes an impact right away with all the marriage sequences of the times when marriages were fixed without asking the couple or any meeting arranged. Continuing with its culturally rich, impressive content without any dull moment as such, the progression transforms you back into the 60s through its well-written entertaining dialogues, a supportive background score and the songs inserted intelligently that don’t pinch or break the flow of the movie as usual. For instance the first song comes after 25-30 minutes into the film as it ideally should be, though the melodies were much stronger and relatable in the team’s earlier venture ANGREZ.
Post intermission, director Pankaj Batra successfully manages to hold the grip by including a racing sequence and a sudden twist that beautifully lifts up the film bringing in the emotional quotient. And then post some cliched or filmy insertions, the team returns with a lovable climax getting smiles back in the theatre and people walking out of the venue feeling immensely satisfied.
In reality, there are four key features that turn BAMBUKAT into a clear winner, which I could easily sense/predict in the mid of its first early morning show itself on the last Friday (as mentioned in my FB/Twitter posts).
Firstly it’s the core subject having a certain magnetic pull focusing on the machine itself that is widely considered as a dream-machine/ride among the youth of Punjab and the northern regions since many decades.
Secondly, the film has a highly entertaining comic feel throughout, depicting the social status competition between the two Saandus/Saadus, a tricky relationship most of the viewers can easily relate to.
Thirdly it has all brilliant performances put up by the entire star cast in both their big and small roles contributing in the overall impact.
And fourth is the theme of ‘a suppressed underdog’ winning the game that actually works 8 out of 10 times in our Indian cinema, with every person sitting in the theatre making an instant connect with the character recalling his own life. In fact that is exactly the reason why you hear whistles, shouts and cheers in the theatre when Channan and his wife surpasses the Railway station officer, riding their new Bambukat just before the intermission. In other words that is the very moment, when every person sitting in the theatre feels like a winner himself.
Apart from these four features, as a film BAMBUKAT also makes an indirect yet strong comment over the social status/caste/colour and other discriminations still widely practiced in the region in a highly influential manner. However, contradicting their own vision, the makers themselves support the same in a short ‘unnecessary’ scene that is specifically mentioned in the few downers stated ahead in the review.
Applauding the entire cast, the project clearly belongs to Ammy Virk, followed by Binnu Dhillon, who pleasantly presents himself in a different avatar moving ahead of all his ‘similar’ performances. Continuing with the same thought, though Ammy also reminds you of his ANGREZ act at times, still the singer-turned-actor yet again proves that he is here to give competition to all the big names of the industry and would soon be standing along with them on the top having a good sense of dialogue delivery, screen presence and the required magic winning all the young hearts. So this is the one man, Diljit, Gippy and more need to look upon with respect as well as admiration.
Among the girls, both Simi Chahal and Sheetal Thakur are fine, with Simi getting more scope to showcase her talent as Channan’s wife going through various tense situations facing the competition and the unexpected decision towards the end. Plus it was good to see everyone acting perfectly in the supporting cast without making any typical over the top efforts, featuring the veteran Nirmal Rishi, Sardar Sohi, Anita Devgan, Hobby Dhaliwal and more.
Coming to the downers, once again here we have the traditional marriage proceedings becoming the base of all likeable sequences (that can be ignored in the film’s favour). But the one scene that wasn’t really required is the 1-2 minute railway station sequence featuring two Sikh Bhaapa characters (denoted by printed Pagdis) revealing the same old discriminative and SICK divisive mindset behind the inclusion. (For more details on this ugly division between JATT & BHAAPA existing within the Sikh community itself, do read my long write-up on film ARDAAS with many clear references by clicking here.)
The sets and locations keep generating the feeling of Deja-vu as they are all similar to the ones earlier seen in film ANGREZ and then the second marriage decision coming all of a sudden without any legal or logical justification as per the Indian law and traditions, isn’t that convincing and hard-hitting as it should have been.
Lastly it was quite sad and unfortunate to find another old hit composition of Sh. Charanjit Ahuja sung by Kuldeep Manak as “Goli Maaro Eho Jahe Banuati Yaar De”, copied yet again in the film’s title song as “Koi Virla Hi Launda Note Bambukat Te”, post the similar undisclosed act in Diljit’s SARDAR JI 2 just a month back. Interestingly both the films have a common music director as Jatinder Shah. (But please do let me know if the makers have anywhere mentioned the original source in the credits following the right path.)
Addressing the industry people,
When there are no BIG STARS working in a film looking at their co-actors from 'an assumed elevated platform'……!
When everyone in the team is simply interested in making a good film together and nothing else without any ‘ego-hassles’ or ‘creative intrusion’ and
when the producers find the much needed 'blessed courage" to adapt a fresh, innovative STORY instead of a safer, routine comic plot full of all cliched stuff,
then we get to see a superfine, entertaining film as BAMBUKAT made effortlessly representing all the love and hard work put in by the entire team.
Having said that, yes the film does have some technical flaws, but these are not what the general public is actually concerned with. So in all possibilities you are sure going to have a good time in the theatre watching the two entertaining Saandus competing with each other. So do watch it supporting great Punjabi Cinema without any Diljit, Gippy or more names you always go for.
Plus watch it essentially to welcome A NEW STAR on the block as ..... AMMY VIRK.
Rating : 4 / 5 (with the additional 0.5 for its courageous producers for backing the unconventional storyline saving the sinking Punjabi Cinema infusing a new hope.)
(Note : When the Punjabi title is written in English then it has to be BAMBUKAAT with two A’s generating the right sound.)
