Tumhari Sulu Movie Review: Vidya Balan Is The Heart And Soul Of This Watchable Film
Cast: Vidya Balan, Manav Kaul, Neha Dhupia, Vijay Maurya, Malishka MendonsaDirector: Suresh TriveniScore: 3 stars (not of 5) a female taxi driver (trupti khamkar) drives the titular protagonist, a housewife turned radio jockey (vidya balan), back and forth from her suburban mumbai home to the studio. in a conversation, she reveals her backstory to her. Her husband, who initially missed her dearly when she opted for a job that kept her away for hours, got so used to her absence that he finally left her. not a hint of regret in her voice, the talkative woman happy to be free and unfettered. just a thought: the story of the taxi driver, if it had been expanded, wouldn’t it have been much more interesting and radical than the one that ensures that the story of triveni? debut film on the big screen says? despite her dreams and aspirations, the heroine tumhari sulu finds herself suspended between affirmation and commitment. she has no real intent to dismantle the status quo.
Not that the unlikely turn of events in the placid life of the energetic Sulochana, aka Sulu, of the jal padma housing society, swerve, is unimportant, but it does seem somewhat familiar in terms of the plot to Although he is on the FM radio airwaves, a universe rarely portrayed in Hindi cinema, he finds his true calling. her job gives her a sense of confidence and accomplishment, but it doesn’t inspire her to attempt a full-fledged rebellion. Lately we have seen several Bollywood movies about strong female leads who thrive on defying expectations. only the other week, on ribbon, located in much the same social environment, it was kalki koechlin’s turn to grapple with the daunting task of balancing the pressures of work and the demands of home .this is exactly the place where housewife sulu, materially comfortable and stable thanks to her husband ashok dubey’s (manav kaul) job as a supervisor in a clothing workshop, finds herself when she is hired as a radio jockey and She is called in to be their best air seductress much to Ashok’s dismay.
tumhari sulu is a decent enough movie backed up by a wonderful pivotal performance from vidya balan, but parts of it, most notably the easy climax, rule out the possibility of it rising to the heights it in The times seem to be within reach. In addition to diligently carrying out her household duties, which include preventing carrier pigeons from pooping on clothes drying on the balcony, Sulu doesn’t miss the opportunity to participate in neighborhood competitions and keep track of her wins and near misses. .when it comes to introducing herself to the world, she, however, never adds her husband’s last name to sulu. she is just sulochana. so it’s a bit incongruous that the nameplate outside her house says “mr and mrs ashok”. she should have been simply ashok and sulochana if it is the lady’s individuality that the film seeks to underscore. of course sulu and ashok are not spring chickens. Ashok suggests that the couple should plan a sister for her 11-year-old son Pranav (Abhishek Sharma). Sulu is quick to point out that they’re not young enough to have another baby. Interestingly, most of the songs the couple sings – batata vada (hifazat), zubi zubi (dance dance > ) and of course hawa hawai (mr. india), which gets full party number treatment, are from movies released in 1987. that sure is a vintage indication of sulu and ashok.
but as radio channel boss maria (neha dhupia) exclaims the first time they meet, sulu is a fast learner. she takes on her role painlessly, but she never fails to be amused by the new-age colloquialisms she hears all around her in the studio: what’s up, relax, dude, bro, a fact she shares with the her husband. Sulu’s transformation from a happy-go-lucky housewife who brags about her success rate in all sorts of petty hobbies: a lemon-and-spoon race, a sack race, a tug-of-war, and radio contests for listeners, to a A proud professional who uses her voice to fuel the late-night fantasies of lonely men is undeniably intriguing.
with vidya balan diving deep into character and featuring plenty of moments of pure magic and a competent supporting cast led by the generally underutilized manav kaul contributing his mite, tumhari sulu, warts and all, it is never less than appetizing. It could have been an even better movie if the second half hadn’t deviated from the deliciously tongue-in-cheek tone of the first, which follows Sulu’s charming but impractical personal advancement schemes, offering her husband a 50/50 partnership in each proposed venture. , and her run-ins with her older twin sisters aradhana (sindhu shekharan) and kalpana (seema taneja), despising the high school dropout who seeks pleasure in trivial triumphs while devoting herself. taking care of her husband and her son. She’s making the abrupt tonal transition from lighthearted to somewhat melodramatic that Tumhari Sulu misses a few tricks, but director Triveni has a way with the scenes that really kills her. r. Especially surprising is his moderate treatment of a confrontation between her and Sulu’s mocking siblings when a crisis precipitated by her son engulfs the family.
The director does not resort here to stridency or open ostentation to see how audacious this woman is. A simple point is made hard when Sulu puts her foot down and refuses to move from her chosen position. the scene conveys the strength of the steel she is made of. shivkumar panicker’s elliptical editing is surprisingly effective, giving tumhari sulu momentum even when there doesn’t seem to be much happening on screen in the form of ‘action’. director of photography saurabh goswami frames real spaces within a lower-middle-class house, as well as the lively yet charged atmosphere in the much more striking interiors of the studio where sulu works.