VividSimon Simply Perfect

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

pillhere It starts with rains, mumbai rains, and ends on a journey. Would you like to begin a journey when it's raining? Perhaps not, its okay to wait another day and delay your start. Unless you are deparate to reach somewhere. The characters in the film decide to go on a journey together and we are priviledged to see the beginnings of it right towards the end. Why does Lunchbox - the film - connect with us? I believe because it points out the obvious. The plot is not super originaland similar films have been made before. But why should it matter. Natural laws dont change. Unassuming people, caught in the morose regularity of a sweltering and overcrowded megacity are missing the presence of something that is crucial for human existence- appreciation, love and above all- companionship. I wonder if they would feel the same if they were somewhere else where there are trees, a river, or mountains perhaps to fill their days. After the basic human needs are met, new ones develop and one must heed to them, but the norm is that you don't risk the safety of basic human necessities, like a shelter, food etc (Maslows hierarchy). To fulfill the desire for a happier life, the characters in the movie can risk it all. Their road to this drastic step, their own tragedies, and their failures to find a successful solution (spices, new recipes, a retirement plan) help us understand this aberration. They are brave and honest in their quest for a better life, wherever that might be. Bhutan - their destination is not merely a place but an idea where they might break free of the chains that tied them to the status quo. We are humans and that is our fault. For those stating that the movie is too depressing, I would argue that in fact its an uplifting subject. It ends on a beginning. Of new possibilities.

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.

bajpaiharshit For all those out there who thinks bollywood always copies, you should see this one. Who would have thought that a 9-5 job person who was lost in the world is brought back by a tiffin box and the story goes much more deeper about the hidden love of a housewife who too was lost in her own world. Slow but it still binds you to your seat "Simple events of life happy or sad,/ Some sad strings from the train of forgetfulness,/ Not fraught with heavy descriptions,/ Not crowded with events,/ No advice, no philosophy/ Only the feeling that the story is not yet over/ Although there is no more to read..." Lastly, the best part of the movie is 'The Ending'. "Only the feeling that the story is not yet over, although there is no more to read". There is something unspoken in this movie. It depends viewers to viewers, where they actually like to go with "Sajan & Ila".

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.