CAST: Irrfan, Saba Qamar, Deepak Dobriyal
DIRECTION: Saket Chaudhary
DURATION: 2 hours 12 minutes
HINDI MEDIUM STORY: Mita and Raj Batra, a well-off couple from Delhi’s Chandni Chowk, are thinking about getting their little girl entrance into an English medium school. There is one major issue. Their language is Hindi, and the elitist snots won’t let the Hindi talking people fit in.
HINDI MEDIUM REVIEW: At the center, the film shows an extremely applicable subject of how language separates our general public. How english speaking individuals in India are touted to be ‘premium class,’ while the Hindi-waale¸ however celebrated or well off, are tasteless, or plain uncool. Hindi Medium sparkles in two ranges that a large portion of our movies frequently miss the mark concerning. To the extent the story goes – great composition, and to the extent parody goes – incredible planning.
Raj (Irrfan) has a thriving garments store in Chandni Chowk, where he offers ‘unique replicas’ of acclaimed planners, while his better half Mithu (Saba) – her name classily moves up to Honey – is attempting to angrezify their way of life so that their girl Pia (Dishita Sehgal) gets admitted in a high-flying English medium school. They do all that they can – move out of their genealogical home into an extravagant neighborhood, forsake their desi swag for creator wear and change from bhangra to angrezi beats. Oh dear, it doesn’t cut it. plan B. Apply in the gareeb share, move into a poor settlement with clothes and rodents, and take gareebi ki training. Here, the couple meets Shyam Prakash (Deepak Dobriyal), who amusingly, shows them a couple of lessons – none that need language to understand.
Chaudhary gets the language structure of the subject right, and spells out the feelings fluidly. The dialogues (Amitosh Nagpal) are consummately pitched and strangely, the cleverness lays on the pivot, never diverting from the centerpiece. Obviously, Irrfan nails it with an exemplary character, playing a man torn between his straightforward, unassuming childhood and his new wannabe symbol. Saba, as the OTT, ruling spouse is sheer pleasure onscreen. Dobriyal is brilliant and in a few scenes, he abandons you heartbroken. The second half gets over-emotional and the plot appears to be very advantageous, taking abundant freedoms. The last section (peak) is extended and unsurprising, however at last, it drives home the point, uncovering the insufficiencies and escape clauses in our education framework.