A savagely independent old woman by the name of Mukti Debi carries on with without anyone else in Kolkata. Her solitary child lives in Houston, however shows up in the city when he discovers that a thief had attempted to break into his mom’s home. Stressed over his mom’s well-being, he counsels his companion, who is a cop. This companion encourages him to enlist a guardian for his mom, somebody who could likewise bend over as a protector. The ideal individual for the activity – he demands – is a man named Tareq Ali, who has as of late been discharged in the wake of serving nine years at a restorative office. Since Mukti Debi is a resolute and faithful Vaishnav, her child chooses to stow away the recently selected Tareq’s religion and jail history from his mom. The remainder of the film – unsurprising all things considered – follows the connection between Mukti Debi and Tareq Ali and the dutiful bond that starts to shape between them after the underlying hiccups.
The agree ability in the primary half, which spins around Anashua, Nigel and Manali (Jhuma), is more bizarre than the scenes where the criminals plan and plot against the older lady. There are some endearing scenes among Anashua (Mukti Debi) and Nigel (Tareq Ali). While Anashua is splendid while emoting in each scene, Nigel shows up more unbending than his character Tareq Ali. Nigel’s absence of articulation helps him in parts where he attempts to look persuading as Tareq with a spooky past. Be that as it may, at different occasions it would seem that a pretense to underplay the regions where he needs. Manali plays the bubbly character, Jhuma, easily. Be that as it may, her character could have improved without the consistent energy.
The issue, tormenting all older and forlorn individuals in the city, is given a carefree turn and it does well for the film. There was neither getting into the nitty-gritty of the explanation for such absence of security, nor startling individuals more with bloody realities. There wasn’t any attempting to discover an answer. In any case, a portion of the parody around cheats/neighborhood goons and the house proprietor are fantastical. Later when this association is connected to abroad mafia but then cleverness and fun win all through the content, there is a tussle between building up the earnestness of the issue and managing it daintily.
Humor that begins as a genuine interesting note gets unimportant later, particularly in the school scene and the scene where a criminal professes to have wanted gift. The subsequent half is somewhat extended.
The good part of the cinema is that how it in the end takes up the point of what is one’s religion or caste. Mukti Deb, at the end says, Humanity and humanitarian is our religion and our caste. That’s our identity.
By Rajrita Chattopadhyay