Indian cinema is slowly coming of age and Amitabh Bachchan continues to fascinate, endear and silence his critics in times when slapstick, under-the–belt comedy is raking in the mullah at the box-office.

Cinema in it’s true sense is a reflection of reality, bringing forth the various shades and characters in life on the large screen. Paa is one such movie, which depicts a “god gifted “chromosomal disorder with subtle humour, grace, wit and maturity. What appeals most is the movie dwells on value of human relationships, rather than overtly focusing on “Progeria-The Disease “. Yet the movie creates an awareness of a disease less known.

The movie is brisk initially, the director doesn’t loose out on the plot by having a short narrative song (well executed by Illayaraja) to state the obvious events that led to being of our tall, lanky, “Budda-Baccha”- Auro. The dialogues are typically “Balki style”- short, crisp, entwined with humour and yet effective. The cinema hall resonates with short spurts of laughter at regular intervals to keep you engaged through the narrative.

The characterization of each role is unique, providing each person on screen with an identity that one could relate to. The movie also stands apart, for its willingness to “bare-all “ and remain transparent on human relationships, rather than dwell about the clichéd  ‘Unwed Mother “and the subsequent emotional attyachar. Infact a chaste Vidya gifting her son the picture of his ‘Monkey MP ‘ father on his 13^th birthday is forthcoming.

The biggest positive is that script induces humour even in a supposedly sad moment, thereby mitigating certain forgettable flaws in the movie. Auro’s trademark mannerisms and his little world keeps you engaged, be it his “ Bum” granny or his friends at school whose mischievous innocence light up the screen.  The little girl chasing a huge Auro through the movie instantly reminds you of “Cheeni Kum”. Balki continues to exercise his fondness of providing space and leverage to his  “little characters “ in the narration.

On the flip side, the depiction of the real “Paa” – a modern-day, young and upright politician, is not convincing. The movie dwells into the politicisation of slum rehabilitation and a dose of media bashing which is unwarranted and could have been safely avoided. However Abhishek Bachahan gives in an earnest performance, bringing life to many mundane scenes.

Auro, the 13-year old protagonist played by a 67-year old Amitabh, lights up the screen with joy, humour, energy, maturity and elegance without seeking the sympathy of his audience. Never through the narrative does Auro become Amitabh, the greatest achievement by an actor. In an age where a ‘Hero’ calls for being stereotypical in the Bollywood sense, Auro (or Amitabh) transcends the conventional with ease, delivering a powerful and heartfelt performance. Amitabh personifies the saying “Learning never ends”.

Vidya Balan, as Auro’s mother, delivers an outstanding performance. Her portrayal of an independent, strong-willed, concerned yet levelheaded mother is graceful to say the least. This is for certain Vidya Balan best, since Parineeta. Her emotional connect with the viewer is brilliant. It is the “Maa”, who endears the audience. For certain the movie is a depiction of a “Mother-Son, Son-Mother “ relationship. I only hope this talented actress doesn’t get typecast in her future projects.

As you walk out of the theater, you’re bound to reflect on the movie and that in itself speaks of a movie well done . But yes, the movie is a typical “ Multiplex cinema”. Whether this new-age Hindi cinema is able to penetrate into the smaller cities and towns, only time will tell.

I recommend you watch this movie for the superlative performances by its star cast and the sheer goodness and entertainment the movie holds for you. You wouldn’t regret watching “Auro’s World “!

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