Khajoor Pe Atke (2018)

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Director: Harsh Chhaya
Starring: Seema Bhargava, Vinay Pathak, Manoj Pahwa, Alka Amin
Genre: Comedy
Released on: 18 May 2018
Writer: Harsh Chhaya
IMDB Rating: N/A/10 (N/A Votes)
Duration: 116 min
Synopsis: The trouble starts when the member of middle class family in held in the ICU.
Story: Hilarity ensues when a member of the Sharma family tethers between life and death as his relatives from across the country set up camp in Mumbai waiting for the inevitable that seems to have been delayed, indefinitely.

Review: As Devinder Sharma’s life hangs in the balance in an ICU in a Mumbai hospital, his close family have no choice but to travel to the city to be with him in the time of crisis. The only thing is that Devinder isn’t blessed with the perfect family; they’re all perfectly dysfunctional instead. And perfectly middle class, too. As the eldest brother Jeetendar (Manoj Pahwa) pays double for air tickets for his entire family against the wishes of his wife, the younger one, Ravinder (Vinay Pathak) pinches pennies instead, hoping to get a cheaper deal to fly to Mumbai. They’re not being awkward here. This is how middle-class families operate. As days go by and Devinder does not show any signs of improving, his extended brood try to make the best out of their time in the big city which include shopping sprees and trips to the parlour by the women in the family, while the younger men trek out to take in the sinful nightlife that Mumbai has to offer. A niece named Nayantara (Sanah Kapoor) even goes for auditions with help from her shady Facebook friend. As the kids run amok, the elders too, figure out ways to pass time as their stay in the city keeps on lengthening.

Harsh Chhaya, in his directorial debut, has presented a dark yet hilarious portrayal of a family in crisis, which may seem over the top, yet is totally relatable. Performances by the entire ensemble cast, mainly the husband and wife duo Manoj and Seema Pahwa, are top-notch, and are the strength of the film along with the dialogues. While not all sub-plots are that interesting, with some even being a tad clichéd, there are several moments when the story takes over and you find yourself giggling at the goofiness unfolding on screen. The characters are well developed though, which keep you engrossed. Comparisons with the Marathi film Ventilator could have been valid, had the emotional angle in the film been a little strong. For now, 'Khajoor Pe Atke' is a funny situational comedy that lacks emotional depth, but delivers belly laughs by the plentiful.
Devender – the second of three brothers – is in the coma and later put on a ventilator. His siblings – Jeetender (Manoj Pahwa), Ravinder (Vinay Pathak), and Lalita (Dolly Ahluwalia) – live in different parts of India and hurry to Mumbai with their broods to be with the brother’s family in this difficult time. His condition neither improves nor worsens, keeping everyone’s private life in limbo as they wait it out in the hospital. The younger lot of set about exploring Mumbai and get into a lot of misadventures while Jeetender’s daughter Nayantara (Sanah Kapur) falls in tangles of a romeo type who promises to make her a heroine. Then there is also the fate of Mumbai property at stake.

The writing is bang on. Younger brother Ravinder for instance wants to wait it out in order to get a better deal on air tickets, the sister has faith of godmen and arranges for a baba to visit the hospital and bless her younger brother while the mother wants to fix the daughter’s wedding in the hospital because she doesn’t want to let go of a good opportunity. The wife is panic eating all the time and the elder brother takes up drinking again because he can’t handle the tension. We can all relate to such traits and situations. Despite their different personalities, you can feel that the members of this hugely dysfunctional family have lot of love towards each other.

First time director Harsh Chhaya (who has done a smallish cameo in the film) was known for his understated roles but here he has let the proceedings go over the top. You don’t mind the broad strokes because it’s a comedy. He has also written the screenplay and dialogue. The basic premise has been taken from the Marathi film Ventilator (2016) but Chhaya has given his own twist to it. It doesn’t carry the same emotional punch as Ventilator, limiting itself to being a slapstick comedy. The cheeky dialogue adds to the fun. Chhaya has also widely invested in performers. The husband and wife team of Manoj and Seema Pahwa who are acting as a couple in the film can be relied upon to deliver any given day and here, their jibes at each other and their fights sound genuine. The same is true of Dolly Ahluwalia or Vinay Pathak who too have a knack of becoming their character, the rest of the ensemble cast is nice too. Mention must be made of Sanah who is a delight as a Bollywood wannabe.

Watch the film if you’re in mood for some OTT comedy carrying good performances. You’ll not be disappointed…
Story: Hilarity ensues when a member of the Sharma family tethers between life and death as his relatives from across the country set up camp in Mumbai waiting for the inevitable that seems to have been delayed, indefinitely.

Review: As Devinder Sharma’s life hangs in the balance in an ICU in a Mumbai hospital, his close family have no choice but to travel to the city to be with him in the time of crisis. The only thing is that Devinder isn’t blessed with the perfect family; they’re all perfectly dysfunctional instead. And perfectly middle class, too. As the eldest brother Jeetendar (Manoj Pahwa) pays double for air tickets for his entire family against the wishes of his wife, the younger one, Ravinder (Vinay Pathak) pinches pennies instead, hoping to get a cheaper deal to fly to Mumbai. They’re not being awkward here. This is how middle-class families operate. As days go by and Devinder does not show any signs of improving, his extended brood try to make the best out of their time in the big city which include shopping sprees and trips to the parlour by the women in the family, while the younger men trek out to take in the sinful nightlife that Mumbai has to offer. A niece named Nayantara (Sanah Kapoor) even goes for auditions with help from her shady Facebook friend. As the kids run amok, the elders too, figure out ways to pass time as their stay in the city keeps on lengthening.
Harsh Chhaya, in his directorial debut, has presented a dark yet hilarious portrayal of a family in crisis, which may seem over the top, yet is totally relatable. Performances by the entire ensemble cast, mainly the husband and wife duo Manoj and Seema Pahwa, are top-notch, and are the strength of the film along with the dialogues. While not all sub-plots are that interesting, with some even being a tad clichéd, there are several moments when the story takes over and you find yourself giggling at the goofiness unfolding on screen. The characters are well developed though, which keep you engrossed. Comparisons with the Marathi film Ventilator could have been valid, had the emotional angle in the film been a little strong. For now, 'Khajoor Pe Atke' is a funny situational comedy that lacks emotional depth, but delivers belly laughs by the plentiful.
'कंटेंट इज किंग' का बोलबाला इन दिनों जोरों पर है और उस कंटेंट में 'स्लाइस ऑफ लाइफ' शैली वाली फिल्में खूब बन रही हैं। बिना स्टार पावर की मजेदार कहानियों वाली फिल्मों के लिए अब सीमित ही सही, मगर एक अलग दर्शक वर्ग तैयार हो रहा है। उन्हीं दर्शकों के लिए है, हर्ष छाया निर्देशित 'खजूर पे अटके'। जिंदगी और मौत के बीच झूलनेवाला एक शख्स कैसे अपने रिश्तेदारों को इकट्ठा होने पर मजबूर करके जीवन की विसंगति से परिचित करवाता है, इसका मजेदार चित्रण निर्देशक हर्ष छाया की इस फिल्म में देखने को मिलता है।

मुंबई के नामी अस्पताल में देविंदर शर्मा मौत की आखिरी घड़ियों को गिनते हुए आईसीयू में भर्ती है। उसके दो भाई और एक बहन का परिवार मुंबई से दूर रहता है। इस मौके पर उसके करीबी रिश्तेदार उसके अंतिम दर्शन करने आते तो हैं, मगर अपने व्यक्तिगत अजेंडे और तोड़जोड़ के साथ। जितेंदर (मनोज पाहवा) बड़े भाई के आईसीयू में भर्ती होने की खबर सुनकर भावुक हो जाता है और अपनी पत्नी (सीमा भार्गव) की मर्जी के खिलाफ हवाई जहाज के महंगे टिकट खरीदता है। उसके बाद वह अपने बेटे तथा बेटी नयनतारा उर्फ रोजी (सना कपूर) के साथ मुंबई आ धमकता है। छोटा भाई रविंदर (विनय पाठक) एक अरसे से अपने बिजनस का एक कॉन्ट्रेक्ट पाने की तिकड़म में है, मगर दुनियादारी के डर से उसे भी अपनी पत्नी और बच्चे समेत मुंबई आना पड़ता है। उनकी लाली दी (डॉली अहलूवालिया) भी अपने पति से तू तू मैं मैं करके वहां आ पहुंचती है। मुंबई के अस्पताल में देविंदर शर्मा की पत्नी (अलका अमीन) और बेटा मौजूद है। हालात तब बड़े अजीब से हो जाते हैं, जब देविंदर दुनिया से जाने में देरी करता है और उसके अंतिम दर्शन करने आए रिश्तेदार अपने-अपने जुगाड़ में लग जाते हैं। युवा भांजों को लड़कियां ताड़नी हैं और डांस बार जाना है। नयनतारा फेसबुक फ्रेंड के साथ ऐक्टिंग के ऑडिशन देने लगती है। रविंदर की पत्नी (सुनीता सेनगुप्ता) पार्लर जाकर अपना हुलिया दुरुस्त करने की फिराक में है। और तो और देविंदर की पत्नी इस नाजुक हालत में भी दिन-रात खाती-पीती नजर आती है, जबकि उनका बेटा शरद इस बीच गर्लफ्रेंड से मिलना नहीं भूलता। इसी अफरा-तफरी के बीच एक दिन आखिरकार देविंदर का राम नाम सत्य हो जाता है, मगर वो जाते-जाते सभी को जिंदगी के सबक दे जाता है।
निर्देशक के रूप में हर्ष छाया की पहली कोशिश मजेदार है, मगर उनकी इस फिल्म पर मराठी वेंटिलेटर की छाया साफ नजर आती है। हर्ष ने फिल्म को जिंदगी और उसके चरित्रों के काफी नजदीक रखा है, मगर इंटरवल के बाद कहानी हिचकोले खाने लगती है। हालांकि फिल्म के संवाद और कई दृश्य आपको मुस्कुराने पर मजबूर कर देते हैं।

फिल्म की कास्टिंग परफैक्ट और दिलचप्स है। मनोज पाहवा और सीमा भार्गव ने अपने किरदारों को बड़े मजे से जिया है। सीमा ने किरदार को अपने चेहरे के फनी भावों से मनोरंजक बना दिया है। विनय पाठक इस बार औसत रहे जबकि अलका अमीन ने अस्पताल में दिन-रात कुछ न कुछ खानेवाली पत्नी की भूमिका को बड़ी सहजता से निभाया। सना कपूर क्यूट लगी हैं, तो डॉली अहलूवालिया ने भी अच्छा-खासा मनोरंजन किया है। रॉकी दिलवाला के रूप में प्रथमेश परब ने खूब हंसाया है। सहयोगी कास्ट भी रोचक है। फिल्म का संगीत औसत है। बिक्रम घोष इसे फिल्म के मुताबिक संवार सकते थे।

क्यों देखें-पारिवारिक और हास्य फिल्मों के शौकीन यह फिल्म देख सकते हैं।
Indians are considered a sappy bunch when it comes to responding to the inevitable conclusion of life. While this implies much chest-beating and bouts of nose blowing, most of the melodrama is often improvised to keep up with expectations. So, when an elderly gent in this film is plugged onto life-support, his siblings pour in to commiserate with his wife and son. Their consistently doleful tone often cracks but their internal monologue conveys their ulterior motives which couldn’t be any furtherfrom sympathetic. Enough fodder for a black comedy? Perhaps, but this one goes a bit overboard, and the practical humour they hoped to conjure seems only too laboured.

When a certain Devendra is admitted to the ICU in a near-critical state in Mumbai, his siblings — Jeetendra (Manoj Pahwa) from Lucknow, Ravindra (Vinay Pathak) from Indore and Lalidi (Dolly Ahluwalia) from Bhopal — rush to see him, their families in tow. After all, in such situations, one can never predict when “seriousness sadness mein badal jaye”. They collaborate in consoling the patient’s distraught wife (Alka Amin) who is forever chomping on something — from a vada pav to chocolate pastry — to expunge her feelings. While this sensitive construct obligates the relations to hang around the hospital, the plateaued state of the patient gets the visitors restless overtime. One of them even compares the situation to the traffic light that’s stuck in yellow, refusing to go red or green. It’s easy to imagine the inevitable turns that would follow to break the lull of waiting for a comatose relation to come around. While one decides to indulge in tourism, another finds the occasion suitable to forge a marital alliance for their daughter. These socially awkward adventures render mild hilarity but every gag is repeated without rinsing and over-explanation diffuses its impact.
Manoj and Seema Pahwa, who reprise their off-screen relationship in the film, are surely the most compelling couple from the cast. Seema’s subtle and Manoj’s exaggerated reactions to the singular situations their characters find themselves in elevate the proceedings. Vinay Pathak’s Ravindra hopes to evoke humour through the sufferings he endures but the track becomes repetitive and tedious. Dolly Ahluwalia’s Lalidi tops the obnoxious meter and her character’s loud and laboured shenanigans are almost insufferable. In one scene, Lalidi is seen trooping into the intensive care unit with a baba who smears the patient’s forehead with ash to bless him.

In his directorial debut, Harsh Chhaya also makes a fun cameo as himself — a once-popular TV actor who has faded from memory but can be recognised as that-actor-from-that-show. In a scene, we find him jogging by the sea, when he’s mobbed by tourists who close in for a selfie while rattling off names of TV shows where they assume they’ve seen the actor (none of which are correct). Behind the camera, Chhaya manages to furnish sequences that would deliver a situational comedy but doesn’t manage to contain his content for optimal impact.

Khajoor Pe Atke also delves into the unspoken resentment that siblings sometimes harbour against each other. But the screwball-TV-show-grade of writing dilutes the emotion. When Ravindra catches Jeetendra secretly downing a glass of whiskey, he’s initially shocked. Then the elder brother pins it to his traumatized state and even offers him a swig from his glass. The two swap stories about their comatose brother, and alternately alter the composition of the drink to match their taste. The sentimental exchange fueled by liquid courage strives to hit emotional peaks but plunges since the dialogue can’t keep up. This can be said about the film too — high on idea but hardly heady in execution.
On hearing news that one family member in Mumbai, Devendar, may pass off anytime soon, his siblings – Jeetendar, Ravindar and Lalita, rush down to be with him and his family for support, along with their families from across the country. It’s another matter that Devendar’s wife and son would prefer to not deal with his truly ‘item family’ all at once.

However when the patient neither improves nor passes away, everyone’s life is in a state of flux as they are unable to enjoy being in Mumbai, nor are they able to go back to their lives in their own towns and homes. 
But life must go on and so too does the hilarity in their lives continue, because ultimately they are who they are and well, that itself is enough to create chaos.

They are stuck in the flux of wanting the status of their loved one to change, one-way or the other. Also given the fact that the final decision on the ancestral property rests with the dying brother adds to the anxiety.  The film is a tongue-in-cheek look at what a typical family goes through when on the outside one is supposed to behave politically correct but from the inside, each one is desperately frustrated and restless due to the tormenting uncertainty.


What will happen to the patient? and how will his family deals with the situation?

Film and television actor Harsh Chayya’s directorial debut goes over ground previously covered by Rajesh Mapuskar’s Marathi movie Ventilator (2016): a family assembles in a hospital where a relative is in a coma. In Ventilator, the extended clan wants to hurry things up because the Ganpati festival is around the corner. In Khajoor Pe Atke, inheritance is causing impatience levels to rise in the hospital lobby. If Deven croaks, it is hoped, the property will pass on to his brothers and sister.
The big difference between the two films is about the degree of sentimentality on display. In Ventilator, the family members are overbearing but ultimately well-meaning. Khajoor Pe Atke is far less sanguine about the humanity of its characters. In a refreshing change from the cloyingness that characterises families in Hindi films, the siblings don’t seem to care for each other very much. When Jeetu (Manoj Pahwa) gets a midnight call from his nephew, his first reaction is irritation. His pragmatic wife Sushila (Seema Pahwa) has the next best reaction: what will the plane tickets cost?
Each relative turns out to be deeply self-serving: Ravinder (Vinay Pathak) is more worried about a lucrative deal that is in danger of being stymied by his comatose brother. Lalita (Dolly Ahluwalia) uses the moment to gush to everybody about the miracles wrought by the godman she follows. Jeetu’s daughter, Nayantara (Sanah Kapoor), is happy to come along on the Mumbai trip so that she can fulfill her dreams of becoming a movie star. Her brother and his male cousins treat Mumbai as an Indian outpost of Las Vegas, filled with the promise of sin and easy women.
The “sadness” – as Jeetu refers to Deven’s situation – takes its time to be resolved. While we are waiting, Chhaya offers a few nifty character sketches. The humour is scattershot in a production that feels like a play and is shot like a television show, but it is welcome when it hits its target. The constant bickering between Jeetu and the rest of the world produce the best scenes, with Manoj Pahwa, Seema Pahwa and Vinay Pathak acing all their screen moments. Dolly Ahulwalia proves to be a redundant and hammy add-on to the often forced mayhem, and the track involving young Nayantara and her Bollywood dreams only drags the film down.
The humour is often biting, especially when it comes to the happily hypocritical siblings, but it actually needed to have been even more savage. The background music, which acts like a laughter track and keeps trying to alert viewers that a joke has been cracked, adds to the film’s inability to trust the material and be subtle. There isn’t enough of a plot to extend over 119 minutes. With a tighter script and trimmer running time, Chhaya might have actually been on to something special.
 Khajoor Pe Atke is a dark comedy revolving around a probable death in a family, but the film never touches the required urgency to ensure that the audience remembers it for long.
Actor-turned-director Harsh Chhaya doesn’t waste much time in introducing the motives of his characters. Jeetendra (Manoj Pahwa) decides to go to Mumbai when he is informed about his younger brother’s illness. Though the relationship of the two brothers has lost the warmth over the years, but childhood bonding doesn’t die easily, so Jeetendra couldn’t resist the urge of being at the bedside of his dying brother.
Jeetendra and his family are soon joined by the youngest brother Ravinder’s (Vinay Pathak) family.
The hospital, where the second brother is admitted, turns into a conference room, and nobody is really concerned about the patient’s health.
Harsh Chhaya sets up the premise and lets the drama unfold. It works initially when families from small towns find Mumbai really tough to navigate. There are hilarious scenes between Manoj and Seema Pahwa, his wife in the film.
In fact, Seema Pahwa adds charm to the drama. Completely indifferent to the ongoing crisis, she keeps pushing her own agenda against everybody’s will. She is cheeky, manipulative and brazenly funny.
Manoj Pahwa and Vinay Pathak stay away from slapstick humour, but they are never allowed to provide enough thrust to the relationship drama. Whenever a scene starts to gain momentum, the director decides to switch to another.
It also suffers from the problem of plenty. There are at least five plots jostling for screen space. In the end, none of them accumulates enough steam.
The director begins well but soon resorts to a predictable storyline. There are sequences that divert the attention from the central plot -- it’s understandable though. He couldn’t keep playing inside the same space for a long time.
Sanah Kapoor, Shahid Kapoor’s real life sister and Manoj Pahwa’s daughter in the film, is the only one who gets a chance to showcase her talent. Thanks to more screen time, she gradually adjusts to the premise. Her track stands out despite clichéd writing.
By the time climax kicks in, Khajoor Pe Atke has turned messy and is all about mistimed phone calls. You know, the type when characters trapped in tragic circumstances keep receiving phone calls from people all over the world. You have been there, seen that.


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