Brij Mohan Amar Rahe (2018)

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Also Known As: Long Live Brij Mohan

Director: Nikhil Bhat

Starring: Nidhi Singh, Arjun Mathur, Manav Vij, Yogendra Tikku

Genre: Comedy, Crime, Drama

Released on: 03 Aug 2018

Writer: Nikhil Bhat (screenplay), Nikhil Bhat (story), Kuldeep Ruhil (dialogue), Gaurav Sharma (concept), Gaurav Sharma (story)

IMDB Rating: N/A/10 (N/A Votes)

Duration: 100 min

Synopsis: Brijmohan fakes his own death to escape his humdrum life. He gets the money and the girl until the inevitable hand of Karma gets him sentenced to death for his own murder.
Rating - 1/5

One department in which most bad movies display unrelenting laziness is how they depict cities. Spike Lee’s New York movies will make you feel the sweat of the streets, but a bad one will yell ‘Fuggetaboutit’ at your face. Guy Ritchie’s London movies will evoke the damp anger of the British capital, while the worst ones will hire an American to do a bad Cockney accent. Similarly, the new Netflix original film, Brij Mohan Amar Rahe, believes the essence of New Delhi is saying the word ‘bh*****d’ a million times, and then educating the viewer as to why the word is such a vital part of Delhi vocabulary.

It’s not often that we get to discuss a film’s poor depiction of New Delhi - usually, it’s Mumbai that must bear the burden of stereotypes. It must constantly remind everyone that it’s populated by people other than just bhais and mamus and taporis and Patel log. Very few movies get Delhi right, perhaps because very few people from Delhi are making those movies. Recently, only films such as Titli, Gurgaon (close enough), Vicky Donor, BA Pass and, the greatest of them all, Khosla Ka Ghosla have truly understood the wicked passion of this city.

And as a lifelong Delhiite, I can assure you that Brij Mohan Amar Rahe’s idea of the capital is just as misguided as the rest of the film. For example, no one says ‘paaji’ at the end of every sentence, and even if they did, they’d be extremely conscious of whom they were addressing as such. But Brij Mohan doesn’t know this, because despite operating a ‘bra shop’ in what appears to be Fatehpuri, he makes the rookie mistake of calling everyone, and I mean everyone - from bank employees to loan sharks to fellow underwear salesmen - ‘paaji’.The reason his path crosses with such a wide lineup of characters is because Brij Mohan is in over his head. His business isn’t going anywhere, his wife is obsessed with losing weight (and forgetting that she’s supposed to be doing a Sarojini accent that the actor probably learnt from one of those iDiva videos), he’s in debt, and he can’t really handle his very young girlfriend. So to escape his problems and his life, he changes his appearance, pretends he’s dead, and takes on the identity of another dead man.

But Brij Mohan soon learns that one can’t simply run away from one’s difficulties, and he’s caught in a web of his own lies.In fairness, Brij Mohan Amar Rahe aims for a tone that has stumped the best of them. It begins as a crime-comedy, turns into a satire and finishes as a farce. That’s a delicate high wire to tread, and Brij Mohan Amar Rahe tumbles to its demise basically five minutes into the film. Not every movie can achieve the lightning-in-a-bottle quality of Jaane Bhi Do Yaaron, perhaps the greatest of all satires about common Indian men being overwhelmed by their country and its people.

But beyond being a poorly written and very confusingly acted film - every performance, for some reason, is childishly loud, as if delivered by five-year-olds made to look like adults - Brij Mohan (for no fault of its own really) impacts the Netflix brand. So far, their Indian lineup has been rather impressive - Brahman Naman, Love Per Square Foot, Lust Stories and Sacred Games were all enjoyable in their own way. This one isn’t. Netflix’s Brij Mohan Amar Rahe is a con drama that doesn’t really work. Despite its credible actors, the movie fails to live up to the expectations of the trailer that looked promising.

The film’s main plot revolves around a man in his mid-thirties called Brij Mohan, who owns a lingerie shop. Brij (Arjun Mathur) is an unhappy man who cheats on his wife Sweety (played by digital star Nidhi Singh) with a 24-year-old called Simi, who likes shopping and sex. Brij dreams of leaving his annoying wife and settling down with Simi one day, but things go haywire as he attempts to fulfill this one wish. In order to attain that goal, he plans to do away with his own identity, and assume a fresh one, that of Amar Sethi. From here on, confusion and chaos ensue.

At only 1 hour and 40 minutes, Brij Mohan Amar Rahe is not a long film, but 20 minutes into the movie, it starts feeling like a drag. You wonder whether the scriptwriter wrote the entire film in the vein of an anecdote because the movie does give you that impression. There is this constant nagging feeling at the back of your head while you are watching the movie, that the entire build-up of this film will have no pay-off, and you are proven right.

Yes, the play on the the dual identities of the primary character in the movie title is smart, and Arjun Mathur plays his part convincingly, so does the rest of the cast. Nidhi Singh is perfect as the bothersome and loud Punjabi wife who only cares for money and losing weight. Yogendra Tikku as the corrupt Judge Sinha is entertaining and ‘real.’Brij Mohan Amar Rahe’s last 15 minutes is packed in neatly and you are curious about the end. The end should have been a surprise, but the impact is just not there. The film attempts to make a commentary on the vicious nexus of judiciary, politics and society, but it has nothing new to offer.

The main villain of this film is its screenplay that meddles with a number of themes and story arcs and leaves them hanging, tying them up only towards the end in the most haphazard fashion. After the watchable Love Per Square Foot and the delicious Lust Stories, director Nikhil Bhat’s Brij Mohan Amar Rahe is a disappointment. As the third original Netflix Indian film, the movie had raised some hopes and expectations in the hearts of film buffs, which it fails to live up to.In Brij Mohan Amar Rahe, the titular character, played by Arjun Mathur, is a total jerk. He is a small-time businessman who cheats on his wife (Nidhi Singh), fakes his own death, kills two people (accidentally), and is generally just an annoyingly incompetent person. He is still the most likeable character in a film teeming with people – from the wife to the cop to the judge – that are shamelessly amoral. The setting is lower middle class Delhi, and the women are sexually bold. This is great, on paper, for they subvert the traditions of Hindi mainstream cinema; no righteous heroism bordering-on-sexist business here, no demure wife, and this isn’t one of those glossed-over urban romances led by star-kids. Therefore, it’s doubly frustrating that Nikhil Bhat’s film – which had a straight-to-Netflix release last Friday – is hard to sit through.

Everything, from the abuses and the violence, to the songs and the sex, seem to be for effect. The fact that Brij Mohan runs a lingerie store in Lajpat Nagar should have a bearing on his character – at one point, someone taunts him as a “bra panty waala” – but is just used as a prop to up the sex-quotient of the film; other irrelevant things include Brij Mohan giving us the stats for the percentage of women in India who have sex fully naked. Brij Mohan… goes out of its way to come across as ‘quirky’ – which is most evident in its repeated, ironic usage of 80s-90s Bollywood songs in the soundtrack.


The result feels like a film that was made not because the director had an irresistible itch to tell the story but because crime capers based in North India, filled with sex and swear words, are supposed to be cool and saleable.
Brij Mohan Amar Rahe a film that reflects so many stark realities of the society we live in and the life we often choose for ourselves

    An unhealthy setup of unsecured loans which is like a dark pit of heightened gravitywherein once sucked in, there’s no way out…
    A man who is always looked upon as an ATM Machine whether he is a husband or a boyfriend.
    A wife who loves her husband only because he left behind an insurance policy of 25 lakhs (2.5 million).
    A girlfriend who is only after sex and money in the relationship apart from a promise of a foreign trip and is an expert in playing the emotional game on the man.
    Lawyers who are ready to suck blood (read money) at the slightest chance.
    A corrupt police force which itself abets crime when it suits their motives and conveniences.
    A judge and a legal system which not only turns a blind eye to the misgivings of the system but is also an active participant in it.
    A close friend who will backstab you if you approach them in times of adversity.
    A bunch of unrelated people who do not care about what’s right or wrong and truth but only to realize their selfish means.
    The allegorical and metaphorical relevance of death in today’s life.

And not to forget, the relevance of the title with the plot and storyline is simply put, well-thought, apt, catchy and relevant.

All in all, brilliant story telling reflecting today’s times, engaging screenplay to narrate the simultaneous scenes, brisk direction and fearless production. Again it’s Netflix to tell us how fearless and relevant cinema can be.

When will we have more and more fearless producers in India?

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