The first and the best thing that Patiala House does is redefine the typecast Akshay Kumar from the slapstick clown to a splendid actor.
The second thing that the film does is give us back the fabulous filmmaker whom we lost to the never-ending Salaam-e-Ishq and the fully formulaic Chandni Chowk To China. Picture this scene in the final reel of the film when Akshay Kumar is bowling for the last over of the cricket match. His father who never approved of his son’s dream arrives at the stadium just on time. While any other director would have exploited this situation with a sentimental bonding between the father-son or a jingoistic call for victory by the father, Nikhil Advani avoids any such confrontational cliché. He steers away from stereotypes and cuts out every trace of melodrama and every foreseeable formula from the film, thereby bringing freshness to the otherwise predictable family drama.
Bauji (Rishi Kapoor), the patriarch of the Kahlon family, has been fighting against racism faced by Indians in England and has brought respect and individuality of their community in Southall. He has always been the dominating head of his extended joint family (that can put Rajshri to shame) and his diktats have decided everyone’s destiny. His elder son Gattu (Akshay Kumar) had to forsake his dreams of playing cricket for the national England team since Bauji was never in favour of the firangs, despite residing on foreign lands.
17 years later, when Gattu gets a chance to be a part of the England team again, Simran (Anushka Sharma) encourages him to live his dream. After much probing by the younger generation in the Kahlon family, Gattu agrees to play, but without informing his father. Until Bauji learns of it just before the final match.
From characterizations to conflicts, one can find references galore in the writing, though thankfully nothing is blatantly duplicated. Rishi Kapoor’s authoritative patriarch character who has things go his way has been a popular family figure in Hindi films from Dina Pathak’s Khoobsurat to Amitabh Bachchan’s Sooryavansham. Further Gattu facing opposition from his father to play cricket is reminiscent of Gurinder Chadha’s Bend It Like Beckham where the NRI Punjabi father (Anupam Kher) doesn’t approve of his daughter’s football fervour.
The screenplay by Nikhil Advani and Anvita Dutt Guptan has a systematic approach towards the storytelling. A quick prologue explains the racial discrimination plot and a fleeting flashback establishes Gattu’s rise and renouncement in cricket. With the joint family setup, the narrative expectedly proceeds with a wedding in the household, as a dozen characters are erratically introduced and confuse you with their correlations. The story subsequently works towards Gattu’s resurgent induction in the sport and humour comes naturally in the narrative with the family’s attempts to cover up Gattu’s field performance from Bauji. The concluding reels make way for heartrending dramatic moments between the father-son and an obvious yet exciting cricket match.
What’s commendable about Advani’s writing and direction is that he never overdoes anything though there is a common tendency with the theme he tackles. He never goes jingoistic in the racism track nor does he overstate Indian tradition and culture on London lands with the NRI setting. Again the family drama is never overblown and is treated with subtlety and maturity. Anvita Dutt Guptan’s restrained yet powerful dialogues help achieve that in a big way. The first half might appear slow and one-dimensional but it works steadily to bring conviction to the protagonist’s journey. The horde of familial characters might baffle you at times but they are all driven by a common conflict – living their dream over Bauji’s.
At a broader level, the film gives a subtle social message of breaking boundaries of regionalism and nationalism. Patiala House doesn’t need an all-Indian or an all-Asian team, like in the John Abraham – Arshad Warsi starrer football film Goal, to incite nationalistic sentiments in the viewer. Even as an Indian audience, the director compellingly makes you root for an NRI who plays for the England cricket team and defeats Australia.
Shankar-Ehsaan-Loy’s music is refreshing and the theme song that frequently plays in the background adds value to the proceedings. Santosh Thundiyil’s cinematography is competent and Manan Sagar’s editing is just perfect. Remo D’Souza smartly choreographs the song Rola Pe Gaya as an Indo-Western fusion.
Akshay Kumar underplays his character with absolute sincerity and gives one of the best performances of his career. So used are we with his histrionics that, at times, it seems he is overtly toned down here. But then he remains in his character and is impressive. Rishi Kapoor is superlative in his commanding character. His body language, dialect and expressions are impeccable. Anushka Sharma isn’t ignored in this father-son drama and stands on her own. She has a well-etched role and is confident as always. Dimple Kapadia is decent in her part. Hard Kaur is amusing. Geneva Talwar is good.
Nikhil Advani’s hold on the film is so strong that you don’t want to leave the hall even when the end-credit song is playing. Patiala House simply bowls you over.
