sol- A neglected Mumbai housewife and a lonely accountant near retirement age begin to correspond on an increasingly intimate basis after a lunchbox delivery mix-up in this Indian romantic comedy with shades of 'The Shop Around the Corner'. The premise is a tad contrived and clocking it at near two hours long, the movie occasionally feels repetitive. Generally speaking though, this is a refreshingly different sort of romantic comedy with two protagonists who only gradually fall in love with each other's words after several friendly written exchanges. For a modern film, the fact that they communicate through letters (not phones or social media) also provides a welcome quaintness. The dialogue is quite thought-provoking too; "sometimes the wrong train will get to the right station" states the accountant's young colleague at one point. There is also an excellent bit in which the colleague's unexpected arrival at lunch coincides with a romantic music underscore abruptly ending. The entire sound design is remarkable though with accentuated office and canteen noises, plus both leads are superb. How much one is likely to get out the unexpected ending is debatable, but at least the film avoids falling into cliché.

morrison-dylan-fan When The Lunchbox came out,I remember that focus on the film itself ebbed away,after it was unexpectedly not chosen as India's entry to the Oscars. Taking a look at what films were on the BBC iPlayer for Easter,I was delighted to see this title on the line up,which led to me opening the lunchbox.The plot:Since the death of his wife, Saajan Fernandes has put all his energy into his work. Nearing the age of retirement, Fernandes is asked to teach his upcoming replacement Shaikh the ropes of the business. Spending most of the day at home, Ila finds the spark in her marriage to have gone. Coming up with ways to get it back on track,lla decides to make dabbawalas for her husband. Unknown to lla,the delivery company send lla's meal to Fernandes,whose delight with the meal opens a new box in both their lives.View on the film:Cooking up his feature debut,co-writer/(with Vasan Bala) director Ritesh Batra & cinematographer Michael Simmonds (who was also the cinematographer on Project Nim) cut the Indian cinema extravagances for an intimate,low-key indie atmosphere. Spending 6 months rehearsing the movie and keeping to a trim 29 day production,Batra and Simmonds give the title a documentary appearance, with the office lights of Fernandes workplace and the simmering gold lights of lla's kitchen displaying their humble roots. Connecting Fernandes and lla with narration,Batra brilliantly balances "show and tell" via the voice-overs reading the letters covering the progression of the plot,whilst the lingering shots on the faces of lla and Fernandes captures the emotive changes taking place. Opening up the box,the screenplay by Batra and Bala avoids traditional Bollywood "masala" (Melodrama) to instead intelligently focus on the routines that subtly change in lla and Fernandes lives,from the resentment Fernandes has for his replacement turning into mutual respect,to lla leaving the house,and getting on a new train track in life. Building up to lla and Fernandes first encounter,the writers bravely hold back the tears for an unexpected twist which brings the exchanging letters between Fernandes and lla down to a realist level.Spending weeks living with "lla's" disinterested husband (played by a terrific Nakul Vaid) in order to build up the relationship in a method acting style, Nimrat Kaur gives a marvellous performance as lla.Opening to the outside world lla's letters to Fernandes,Kaur gradually builds lla's independent strength to look with new eyes at the outside world. Introducing Fernandes by showing him firmly stick to a daily routine, Irrfan Khan displays an incredible subtle touch in expressing Fernandes anticipation of finding a new lla letter in his lunchbox.

krocheav Quite surprisingly good BAFTA nominated debut feature for Mumbai born, NY University film school drop-out, writer/Director Ritesh Batra. 'The Luchbox' features wonderful performances from all involved. Striking Nimrat Kaur, daughter of an Indian army officer (who was abducted and killed by Kashmiri Sepratists when she was 12) gives a performance laced with a deep sense of lonely soul searching as an estranged wife and mother. Highly regarded Indian Actor Irran Khan (can't forget his portrayal of the grown up 'Pi') gives equal measure to his detached, yet enigmatic character. Award nominated documentary cinematographer Michal Simmonds manages to combine well designed conventional shots with hand held camera that thankfully does not leave you feeling seasick. German born composer Max Richer adds atmosphere weaving an unobtrusive score. The performers and director seem to work together as if all the scenes are just falling into place without effort or planning. An uncommon feat in this age of computer designed, socially aware (of its self) movie making. Even the main story unfolds via a series of notes scratched out by hand. Don't watch it if looking for action, do watch if looking for introspective entertainment. A movie that tells its story of life's everyday complications without stooping to now common vulgarities. Commendable effort.

lasttimeisaw Rarely an Indian film without its trademark dancing-and-singing routines, director/writer Ritesh Batra's feature debut marvellously utilises the exotic "dabbawalas" system of Mumbai, which is an intricate lunch delivery service to people at work from their their homes or restaurants and is remarkable for its accuracy, but Batra fictionalises a little mix- up of the system and links two strangers into an epistolary communication, and from there, their penfriend-ship will further sublimate into something more genuine and profound.Saajan Fernandes (Khan) is a middled-aged widower on the brink of early retirement as a senior accountant, he is withdrawn, cynical and tries to dodge the responsibility to train his new replacement Sheikh (Siddiqui). One day his colourless life is revitalised by a mis- delivered lunch-box which he vastly enjoys. The lunch-box is made by Ila (Kaur), a housewife who attempts to win the her husband's heart through her cuisine. When Ila realises the delivery blunder, instead of righting the mistake, she starts to leave a note to this stranger in the lunch-box and Saajan writes back too, steadily, they exchange their own stories and life philosophy, which becomes the enzyme of a blossoming romance since both find a conduit and a confidant to change their disappointing status quo. Like YOU'VE GOT MAIL (1998, 7/10), THE SHOP AROUND THE CORNER (1940), the two protagonists are destined to meet sine they are not like Helene Hanff and Frank P. Doel in 84 CHARING CROSS ROAD (1987) who are divided by the Atlantic ocean and deferred by a difficult economy situation. It is quite easy for them to meet when all the romantic buildup reaches its threshold, Ila finds out her husband is cheating on her whereas Saajan gets close with the orphan Sheikh, takes him as his protégé, and is ready to turn a new chapter of his life. But Batra refuses to hold out such an easy pass for their significant first meeting, for the sake of narrative twist, he wields the "sudden" epiphany of age difference as the obstacle to morally righteously curb the passion from Saajan's side. And from then on, the film descends into a limbo of indecision, through Saajan's capricious determinations, it actually reflects Batra's insecurity of how to consummate the story in an unconventional way, as his first feature, his endeavour fails to achieve that goal with the over-contrived open ending.Performances are uniformly pleasant to watch, Khan's goggled eyes alone can patently exhume his deepest inner feelings to an affecting effect. Kaur, also downplays the default setting of an under-appreciated wife and evinces her steely resolution of a woman doesn't yield to an unhealthy marriage. Siddiqui's Sheikh. comes around often as comic relief with an inherent optimistic spirit, registers a well-developed balance of humour and earnestness.The film's retro flair in rediscovering the magic power of authentic writings is naturalistic-ally endearing to endorse, and "sometimes the wrong train takes you to the right station", is the motto conspicuously referred three times along the whole movie, THE LUNCHBOX is a rarity among the usual Bollywood products, its message can reach unanimously to every soul who is inspired to find its rightful purpose, and its art-house appeal can lure those who are disinterested in Indian cinema (like myself) into its poetic embodiment of an unusual encounter.