A Family Experience

The best thing about ‘Life Goes On’ is that it’s a family drama. It has been a long time since a sensible family drama has come along. The genre has been long forgotten both in Bollywood and the Bengali film industry, which once thrived on such movies.

The film by Sangeeta Datta, a London-based Bengali from Kolkata, is very evidently the work of a Bengali. It is replete with references to Bengali culture, including the opening sequence of a dance performance at Trafalgar Square, Rabindrasangeet (both in Bengali and Hindi), folk song, and poetry by Jibanananda Das (‘Bonolata Sen’). It’s all very well but there was really no need for the film to wear the ‘Bangaliana’ (Bengaliness) on its sleeve. The ‘cultural’ excess makes for a cloying watch. And it seems a bit shallow when you realize that the Non-Resident Bengali characters speak so little of their mother tongue.

LGO was perhaps best made in Bengali, at least predominantly, with liberal use of English (as befits the story based in London) and Hindi. At least the poetry could have been recited in the original Bengali. The target audience is evidently the Bengali community in the UK and at home.

This is not to demean the film, which after a somewhat pretentious start, begins to pick up momentum once the protagonist couple’s (Sharmila Tagore and Girish Karnad) three daughters begin interacting in the aftermath of their mother’s death. Though sometimes laboured, compounded by the attempt to weave in numerous references – to partition of India and Bengal, terrorism, Hindu-Muslim strife, religious discrimination, patriotism, cultural identity and cultural clash, sexual mores and preferences – LGO is an entertaining watch. (But this entertainment has nothing to do with the Bollywood variety).

What adds to the clunkiness are the very obvious parallels to King Lear. The rehearsals by Soha (who plays Cordelia in the play within the film) are an example. LGO could simply have been an Indianised version or adaptation of Lear, without stating the obvious by introducing the rehearsal scenes and the final staging of the play.

It’s interesting to note that director Sangeeta Datta’s first choice to play Dr Sanjay Banerjee was Soumitra Chatterjee. The role went to Girish Karnad because the veteran Bengali actor was ill. But this was a role tailormade for Soumitra.

Karnad, however, bravely attempts to turn in an impressive performance, in patches, despite the obvious language hurdle. He evens manages to mouth a bit of Bengali convincingly. Just shows how little we use these powerhouse talents of the New Wave era. Om Puri, in a sketchy role, still manages to leave an easy impression as Alok Mathur.

What’s sad is the limited use of Sharmila Tagore. The veteran actor is an all-pervading but shadowy presence when she should have been more truly life-and-blood. The dark secret from Manju’s past could have lent itself to some terrific cinematic moments. But the revelation, which comes at the very end, is dealt with dismissively.

The Sharmila-Karnad chemistry is old fashioned but solid. There should have been more domestic scenes between the two. Soumitra-Sharmila would have been even better, given the obvious parallels that would be drawn to the young Apu and his girl bride from the Ray classic ‘Apur Sansar’. Sharmila and Karnad are paired together a second time after Nagesh Kukunoor’s facile ‘Tasveer’.

Of their three daughters, Dia (Soha Ali Khan) gets the most footage and perhaps the best scenes. But Mukulika Banerjee (as the suffering Lolita) and Neerja Naik (as the fiery, homosexual second daughter Tuli) leave a strong impression.

What’s even more interesting about the cast is the cameo by economist Lord Meghnad Desai (a known film buff) and Mukulika Banerjee, who is also an anthropologist. And both are from London School of Economics.

LGO has its poignant moments, like when the three daughters pore over a video of song and dance from their parents’ marriage anniversary and smile and cry at the same time. Again, one daughter says – the day after their mother’s death – how she feels their mother Manju (Sharmila) has gone shopping and would be back soon.

The confrontation between the father and youngest daughter is another highlight of the film. His objection to Dia’s Bangladeshi Muslim lover is a delicious irony, given that Soha (who plays Dia) is the daughter of a Muslim father and a Hindu mother.

The ending is predictable but you don't really expect anything different from a movie that sticks to the tried and tested. It's certainly worth a worth, especially for family viewing, and gets an 8 on 10 on my review meter.

And then, let life go on.