Finding Fanny

finding-fanny-poster
Finding Fanny
Release date: September 12, 2014
Directed by: Homi Adajania
Cast: Deepika Padukone, Naseeruddin Shah, Dimple Kapadia, Arjun Kapoor, Pankaj Kapur, Anand Tiwari

Deepika Padukone’s voice narrates the story of a bunch of people from a place called Pocolim in Goa, which you shouldn’t bother looking for on a map. Perhaps telling us how it doesn’t really matter if the space exists or not, but paints a picture of how things go at their own pace in this sleepy yet colorful surrounding.

Ferdy (Naseeruddin Shah) is an overgrown choir boy who still hasn’t given up on singing for the church. Angie (Deepika Padukone) catches a rooster from a flock of chickens with her bare hands, and says sorry to him before chopping his head off. Rosalina (Dimple Kapadia) is a hardnosed voluptuous queen bee to the people of Pocolim and a compassionate mother-in-law and a doting mother-like figure to her cat and anyone who needs her. Don Pedro (Pankaj Kapur) is a fledgling painter who’s obsessed about his muses until he’s done painting them. Savio (Ajun Kapoor) is a scorned admirer of Angie who’s inherited 10 dentures and a crumbling house as his family’s legacy.

The five of them leave for an inadvertently selfless road trip in Don Pedro’s car, chauffeured by Savio, which is motivated by Angie’s intentions to help Ferdy know of what happened to the only woman he loved in his life, and what could have happened if his letter professing his love for her had reached the woman. Angie works the wheels around and makes the group of five oddballs assemble, even for their own selfish interests. The premise is thin, and every time Angie says it out loud, you cringe a little.

Their individual traits keep being manifested as they drive further. Often raking up age-old classic comedy shticks and lines of popular deadpan sarcasm, Homi Adajania and Kersi Khambatta place them in a way which makes them seem fit for the characters mouthing those one-liners. Nothing is absurdly serious in the journey, not even death. Finding Fanny prods you to not take life seriously itself, in a whimsically metaphoric way.

The resolution of the final act is too candid and simple, representative of the entire film itself. The resounding message in the end isn’t an unheard or unseen one, yet it’s delectably enjoyable. Mathias Duplessy’s Goan undercurrents to the film’s background score and music soak you in the free-flowing atmosphere. Adajania doesn’t delve extensively in establishing Goa’s aesthetics and lifestyles with his DP Anil Mehta, instead they reduce the clutter by just focusing solely on the protagonists.

Yes, ‘protagonists’. Finding Fanny isn’t just the story of one protagonist, it very well breaks the Bollywood barrier of sticking to one character’s defeats and victories. It’s the collective lives intertwined simply to form a no-frills outright comedy fest with an underline of love. All the mentioned actors are so drenched in the atmosphere of the film, it’s almost as if Pankaj Kapur has always been this sleazy lech, or Mr. Shah has been this fumbling loverboy. Finding Fanny creates a space where you almost forget that all five of them have played so many roles outside the canvas of this film; which in itself is terribly commendable.

My rating: ***1/2 (3.5 out of 5)

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