At the outset, I would like to mention that I like watching certain Bollywood movies released in the 21st century multiple times without getting bored of them.
The likes of Dil Chahta Hai (2001), Kal Ho Na Ho (2003), Fanaa (2006), Chak De India (2007) are a few names that spring to mind.
But today the focus is on a film that became a stamp on every coming-of-age movie made in Indian cinema.
Movies of such genres usually reveal a side to a human’s personality where he/she evolves and becomes a man/woman.
But Udaan, released in 2010, is different. It is the story of a boy, who is grown up-mentally. It depicts the journey of someone who found the strength to fight a brick wall moulded into a human being with no ounce of positivity inside him.
Rohan’s character played terrifically by Rajat Barmecha, is of a boy aware of his future while still being in school.
At a time when Indian children find it difficult to decipher what they want to become, early in life, Rohan is refreshingly different.
His want to be a writer, understanding of his father’s frustrations and an inability to find a solution for it is among his most impressive attributes.
But the standout feature to him is his quietness. In moments when his father tells him to forget about his writing ambitions or when he threatens to slit his throat at the next unforgivable mistake.
Or when he finds out about his poor marks in engineering exams. A shyness that belies his age emphasises Rohan’s struggles better than any other feature.
Watch out for the climax. Few in Hindi cinema with a dramatic storyline encompassing it would match for its boldness and audacity.
Coming to the father now.
Historically, angry and scathing characters have tended to leave an impression on the public, long after the movie is over.
Ronit Roy’s face for the Indian public was largely restricted to his roles in draining, stretching daily soaps. He played the wealthy businessman, the suit-and-boot rich husband who owned a palace for himself and his family.
But here he was, in a world far and away from that glamour, playing a role that would surpass all essayed by him previously.
Angry, frustrated, dark may be adjectives that would be apt for Bhairav Singh. But a word stronger than this triumvirate would describe him the best: GRUESOME.
He was gruesome in the movie. In the way, he thwarted away his elder son’s writing ambitions. In the way, he belted his younger son, played very well by Ayan Boradia and later violently admitted to not wanting to have behaved in that manner.
Or how he threw his younger brother, played by Ram Kapoor out of the house in the movie’s final few scenes.
It is hard enough to play a character riddled with guilt. But it can be harder when those feelings come out with extreme anger. With hot steam blowing out from each ear in every third scene.
There is nothing likeable about Singh. His is a rare character in Indian cinema, wherein the end, there is no change in his personality and demeanour: cold, brutal and gruesome remain his traits from start to finish.
But why should Udaan fall under the coming-of-age category?
Movies of such genre like Dil Chahta Hai, Wake Up Sid (2009) and others depict a physical transformation in the central character. The message is evident and straight forward for the viewing public.
But Udaan forces the public to make a mental transformation. In the way we describe emotions. In the way, we treat our children and crucially in the way we listen and adhere to their likes and dislikes.
It urges the common parent to show support, empathy and be a warm blanket in cold times for them to become better at aspects they are already good at.
Ten years later, Indian cinema watchers with a keen idea for storytelling remain fans of Udaan. It deserves every bit of the respect that it gets.
