I had the recording of this from my HD device lying without me watching it for many weeks. I had no idea what the movie was about or who starred in it. This is a fairly simple tale of a man who returns to his village in Uttarakhand and takes up a job as a school teacher. The movie is embellished with many actors who play bit roles but they all add to the milieu beautifully. The movie takes a funny turn when the teacher wins a red car in a jingle writing contest which his friend enters for him. And from there on there are many funny moments involving him and his red car. The movie has its dull moments when in between the pace slackens and not much happens. But all in all a refreshing watch with a very simple tale to tell. The authenticity of the atmosphere, the excellent cinematography and Deepak Dobriyal make it a pleasant watching experience.
11 Reviews
A good laugh
paularasario5 February 2013
I was reminded of my village in Goa when I saw this film. The characters were very typical to a village. They are always involved in petty politics and are very warm in their heart actually. Village people can be like that very funny and simple at the same time. My family saw it together and we all enjoyed it. My son also liked it very much. We saw it on the net but I am looking for a DVD but cannot find one. The photography is very good. And the acting is very close to the heart. Under the laughter we could also see the reality of a village life, the hardships, the big dreams and the point that there are no jobs there. We can have big dreams but we have to have the courage to make them happen.
Seeing the film is like taking a deep sip of life.
abhaytri10 December 2012
Warning: Spoilers
We have a new film in the horizon, a film which, surges far ahead of the monolithic narrative tradition of Hindi cinema, and has been invented on an entirely new level of story-telling.
The plot is rich and complex. Most films have been made on much less substance. It is next to impossible to pen down the richness of the story on paper. Every character is a world in itself. Every misadventure an independent story. The film's narrative opens hitherto closed windows into our social life.
The film recounts the story of a village lad called Deepak who tries out his luck in the big city. Unable to gain a foothold after years of struggle, he returns in frustration to his family back in the village. At first, the villagers are enthusiastic about this city- returned young man with plans about their future. Their enthusiasm soon dies down when he gets into the specifics. His idealism only provokes their amusement, and soon enough, the ground reality of village life begins to bruise his high-flown dreams. All this is told, however, without any laborious graveness, and with amusing ease. One day, he wins, quite unexpectedly, a bumper prize in the form of a car. He learns, to his wonder, that a sample from his dabbling in poetry was sent to a contest for the best jingle for an advertisement. He becomes an instant celebrity, and the recognition that his talent has craved from the rural folk finally comes his way. His newly acquired status also lands him into unnecessary debt, and soon the car is put into use as a taxi, even a milk carrier.
Yet the vicissitudes and continual disappointments of life are not enough to shake Deepak's optimism and hope for the future. What is cutting to him, however, is the gradual disappointment with life's promises he begins to see in his son's eyes, and the consequent loss of confidence in him. The final part of the story of his struggle to retrieve the respect that he thinks he has lost in his eyes.
Seeing the film is like taking a deep sip of life. Its finely nuanced portrayal of life's many colors is sometimes found in novels but rarely seen in films – and never in Hindi novels or films. However the film manages to pack dense complexity of ordinary life in the story and yet remains a light-hearted, feel good entertainer, which is no mean achievement.
The plot is rich and complex. Most films have been made on much less substance. It is next to impossible to pen down the richness of the story on paper. Every character is a world in itself. Every misadventure an independent story. The film's narrative opens hitherto closed windows into our social life.
The film recounts the story of a village lad called Deepak who tries out his luck in the big city. Unable to gain a foothold after years of struggle, he returns in frustration to his family back in the village. At first, the villagers are enthusiastic about this city- returned young man with plans about their future. Their enthusiasm soon dies down when he gets into the specifics. His idealism only provokes their amusement, and soon enough, the ground reality of village life begins to bruise his high-flown dreams. All this is told, however, without any laborious graveness, and with amusing ease. One day, he wins, quite unexpectedly, a bumper prize in the form of a car. He learns, to his wonder, that a sample from his dabbling in poetry was sent to a contest for the best jingle for an advertisement. He becomes an instant celebrity, and the recognition that his talent has craved from the rural folk finally comes his way. His newly acquired status also lands him into unnecessary debt, and soon the car is put into use as a taxi, even a milk carrier.
Yet the vicissitudes and continual disappointments of life are not enough to shake Deepak's optimism and hope for the future. What is cutting to him, however, is the gradual disappointment with life's promises he begins to see in his son's eyes, and the consequent loss of confidence in him. The final part of the story of his struggle to retrieve the respect that he thinks he has lost in his eyes.
Seeing the film is like taking a deep sip of life. Its finely nuanced portrayal of life's many colors is sometimes found in novels but rarely seen in films – and never in Hindi novels or films. However the film manages to pack dense complexity of ordinary life in the story and yet remains a light-hearted, feel good entertainer, which is no mean achievement.
The movie interweaves the director's critical message about the development path seen in the hills. It argues in favour of the ecological sustainable path of betterment.
dknitenine27 November 2012
Warning: Spoilers
It has been a refreshing feel of watching a movie Daayen Ya Baayen, directed by Bela Negi. I share my opinion over this movie at a time when the cinematic technique, storytelling, and plot of Gangs of Wasseypur (directed by Anurag Kashyap) have successfully drawn rave reviews. This discursive backdrop of Gangs of Wasseypur urges me to present my commentary on Daayen Ya Baayen (hereafter DYB), which appears in a certain way an antidote to the former movie. Take an example. The plot of DYB gracefully concentrated on two different orders of violence and fight. One relates to the ecological violence committed by new mining activity on the Himalayan hills. Second concerns itself with the emergence of fighting awareness regarding the on-going calamitous path of opulence; and the resolution adopted to move away from such an anomaly.
The story prima facie narrates the desire, dream, and initiatives of a city-returned man – a schoolteacher (Ramesh Majila) – who is disillusioned with the life in Bombay and returns to the Uttrakhand hills. He intends to do something in the village itself for a descent, free life. By sheer coincidence he receives a red car to become locally popular. The red car also invites jealousy of others to its owner. He is interested in getting opened a Kala – Kendra in the village with a view to have opportunities for local artists to nurture and express their talent. They would not migrate to and face a rough tide in the un- embracing cities. The subscripts of DYB illuminate more shades of collective hill life than its main plot. Like the movie 'Om Dar Badar' directed by Kamal Swaroop, DYP is a cinematic representation of a space. Or, to put it in other words a space (Uttrakhand hills) is the character itself than a passive backdrop. The movie captures varieties of physical and human activities, voices, emotions, and exchanges taking place in that space. The fleeting appearance of forest fires and captivating presence of the TV serials between the women serve that intent. Likewise is the transient appearance of a sedate, beguiling woman clad in the red sari on a bus. The characters are rooted in the intersection of time and space; hence are there a number of sub-scripts harmoniously interwoven. The hill, the forest fires, and the buffalo – calf are as much symbolic representatives of the space as the rest of social being. The plot embodies the narrative realism. The non-linear progress of life-course characterises both the large trope and other sub-tropes. There are incidental happenings, like the lottery of a red car won through submission of a jingle. At times, the protagonist regresses in his life-course. Liquor embraces him like other hill youth. Such a moment is as ordinary incidence as the effort of the protagonist to bounce back on the path of a hope in a new rise of the red son in the hills. There is no extraordinariness either with the moment of regression or the recovery from it. The movie interweaves the director's critical message about the development path seen in the hills. It argues in favour of the ecological sustainable path of betterment. The message impressively comes through, for the storytelling does not become preachy. Not ironically, the protagonist's attempt to preach his new vision and judgment invariably draws flak from other characters. Two significant messages come along in an understated way. Ramesh Majila submits to the charm of a beguiling woman clad in a red sari who is always on move. She refuses to accommodate the kid of Ramesh on her bus-seat. The facial reaction of Ramesh conveys his dismal with the reality: the beguiling physical appearance does not necessarily incubate a humane, pleasant inner-self. The latter should receive more attention and regard than the former one which could be misleading. At one point, Ramesh agrees to campaign for the incumbent chief minister of the state. In return, he hopes to materialise his dream of a Kala – Kendra. He explains this bargain to his inquisitive son: he is making a small sacrifice in favour of an indispensable thing to come. There is not much time spent on making his statement exemplary. The director undertakes a rapid movement of scenes towards the protection of a buffalo-calf at the expense of a popular car. This is tantamount to a virtual protection of hill life and its environ.
The deployment of symbolism and frames of the camera immensely enriches the plot and comes out smoothly to convey the message. Two examples are worth to note. The sedate, pretty woman on the bus was effectively beguiling. But, she embodied the misleading superficial goodness. Her nasty treatment of the child (Baju Majila) exposes her ugly inner spiritual being, and thus, functions as repellent to Ramesh. The latter saves his buffalo-calf by putting at stake his life and car. He installs the gate of a new Kala – Kendra next to the place where his jettisoned car has been irrevocably hanging. The car initially appeared as a means to attain community respect. The calf was presumed a burden. Towards the end, this equation undergoes a turn upside down. The title of the movie Daayen Ya Baayen refers to the right and left paths of social change. Bela Negi does not intend to resolve the conflict between the two models of development by showing her any simplistic prejudice for one against the other. The third way suggested in the movie bursts forth as a case by case choice. The people in Uttrakhand hills need a Kala – Kendra, but the mining appears destructive and undesirable. DYB is possibly only one movie in the recent time where the protagonist, Ramesh, returns to the village with an intent of discovering an opportunity of descent, free life. Only the malefic spirit moves away from the village to a town. Urbanisation and industrialisation are no longer universal signs of social progress as per Bela Negi's third way. Accolade!
The story prima facie narrates the desire, dream, and initiatives of a city-returned man – a schoolteacher (Ramesh Majila) – who is disillusioned with the life in Bombay and returns to the Uttrakhand hills. He intends to do something in the village itself for a descent, free life. By sheer coincidence he receives a red car to become locally popular. The red car also invites jealousy of others to its owner. He is interested in getting opened a Kala – Kendra in the village with a view to have opportunities for local artists to nurture and express their talent. They would not migrate to and face a rough tide in the un- embracing cities. The subscripts of DYB illuminate more shades of collective hill life than its main plot. Like the movie 'Om Dar Badar' directed by Kamal Swaroop, DYP is a cinematic representation of a space. Or, to put it in other words a space (Uttrakhand hills) is the character itself than a passive backdrop. The movie captures varieties of physical and human activities, voices, emotions, and exchanges taking place in that space. The fleeting appearance of forest fires and captivating presence of the TV serials between the women serve that intent. Likewise is the transient appearance of a sedate, beguiling woman clad in the red sari on a bus. The characters are rooted in the intersection of time and space; hence are there a number of sub-scripts harmoniously interwoven. The hill, the forest fires, and the buffalo – calf are as much symbolic representatives of the space as the rest of social being. The plot embodies the narrative realism. The non-linear progress of life-course characterises both the large trope and other sub-tropes. There are incidental happenings, like the lottery of a red car won through submission of a jingle. At times, the protagonist regresses in his life-course. Liquor embraces him like other hill youth. Such a moment is as ordinary incidence as the effort of the protagonist to bounce back on the path of a hope in a new rise of the red son in the hills. There is no extraordinariness either with the moment of regression or the recovery from it. The movie interweaves the director's critical message about the development path seen in the hills. It argues in favour of the ecological sustainable path of betterment. The message impressively comes through, for the storytelling does not become preachy. Not ironically, the protagonist's attempt to preach his new vision and judgment invariably draws flak from other characters. Two significant messages come along in an understated way. Ramesh Majila submits to the charm of a beguiling woman clad in a red sari who is always on move. She refuses to accommodate the kid of Ramesh on her bus-seat. The facial reaction of Ramesh conveys his dismal with the reality: the beguiling physical appearance does not necessarily incubate a humane, pleasant inner-self. The latter should receive more attention and regard than the former one which could be misleading. At one point, Ramesh agrees to campaign for the incumbent chief minister of the state. In return, he hopes to materialise his dream of a Kala – Kendra. He explains this bargain to his inquisitive son: he is making a small sacrifice in favour of an indispensable thing to come. There is not much time spent on making his statement exemplary. The director undertakes a rapid movement of scenes towards the protection of a buffalo-calf at the expense of a popular car. This is tantamount to a virtual protection of hill life and its environ.
The deployment of symbolism and frames of the camera immensely enriches the plot and comes out smoothly to convey the message. Two examples are worth to note. The sedate, pretty woman on the bus was effectively beguiling. But, she embodied the misleading superficial goodness. Her nasty treatment of the child (Baju Majila) exposes her ugly inner spiritual being, and thus, functions as repellent to Ramesh. The latter saves his buffalo-calf by putting at stake his life and car. He installs the gate of a new Kala – Kendra next to the place where his jettisoned car has been irrevocably hanging. The car initially appeared as a means to attain community respect. The calf was presumed a burden. Towards the end, this equation undergoes a turn upside down. The title of the movie Daayen Ya Baayen refers to the right and left paths of social change. Bela Negi does not intend to resolve the conflict between the two models of development by showing her any simplistic prejudice for one against the other. The third way suggested in the movie bursts forth as a case by case choice. The people in Uttrakhand hills need a Kala – Kendra, but the mining appears destructive and undesirable. DYB is possibly only one movie in the recent time where the protagonist, Ramesh, returns to the village with an intent of discovering an opportunity of descent, free life. Only the malefic spirit moves away from the village to a town. Urbanisation and industrialisation are no longer universal signs of social progress as per Bela Negi's third way. Accolade!
Peculiar Film-Making Delivers Something Fresh. ♦ 69%
nairtejas2 September 2013
Deepak Dobriyal had impressed me with his zero-dialog performance in Shaurya. And here he is just too good as the troubled teacher.
Funny moments start and never tend to end in this cocoon of true melodrama about how people in India behave, live & react to things which are out of the world. The taunts, dialogs & reactions are so original, I could relate. Each & every member of the cast has put in efforts in the funny quotient of the movie. With some good locales, the plot talks about the rise-to-fame-story of a teacher when he wins a red car in a contest. Things unfold & he finds himself in something he wants to so eagerly get out.
BOTTOM LINE: Fresh writing & funny moments, Daayen Ya Baayen is an entertaining watch, in spite of having few dull moments. 6.9!
Can be watched with a typical Indian family? YES
Profanity/Nudity/Sex: No | Violence/Gore: No | Smoking/Drugs/Alcohol: Mild
Funny moments start and never tend to end in this cocoon of true melodrama about how people in India behave, live & react to things which are out of the world. The taunts, dialogs & reactions are so original, I could relate. Each & every member of the cast has put in efforts in the funny quotient of the movie. With some good locales, the plot talks about the rise-to-fame-story of a teacher when he wins a red car in a contest. Things unfold & he finds himself in something he wants to so eagerly get out.
BOTTOM LINE: Fresh writing & funny moments, Daayen Ya Baayen is an entertaining watch, in spite of having few dull moments. 6.9!
Can be watched with a typical Indian family? YES
Profanity/Nudity/Sex: No | Violence/Gore: No | Smoking/Drugs/Alcohol: Mild
A gentle comedy with a sharp bite
aliyabhatt7120 June 2012
What a fantastic film I discovered recently. I cant believe that I didn't see it before. Daayen ya Baayen is full of subtle humor, nuances, wonderful characters and such a lovely story line. The story seems simple but it is quite complex. It is about a guy going back from the city to the village and finding that not much has changed back here. He finds his raison d'etre in building an art school in he village. But a red car arrives in his life and takes him on a different trip. The story is about this and a lot more - its a life lesson. I can see it again and again for the many nuances and hidden gems all over the film. I enjoyed it and recommend it to everyone who want to see something out of the ordinary.
Extreme Satisfactory
peter-14268-5468318 October 2018
I have seen this movie more then 50 times on my laptop as i usually show this movie to all my friends. It should be an award winning movie because from the critics point of view it has everything which a movie should have and adding to this its not a common movie which is made just to earn mony, but it has real message in a very effective manner. It's a glimps of the rural hills area which is still waiting that someday someone will think about its progress and one man comes just to live here but after analysing the situation he thinks to move there forever and leaving his urban life. But its not so simple for anyone to leave his regular life and waste his time in an usually unknown place where evereone has perception about him. But he decided to change everything and this is the turning point of this movie. I have seen so many movies in my life but everything showed in this movie just connects and tells what a movie should be like which is covering a social issue. i gave 10 points to this movie which are still less the i want to give :)
one of best pahadi movie daayein ya baayein
avimobi4 October 2017
A must see movie. This is one of the best ever movie written and created in uttarakhand area.. i just randomly saw it on you tube but hats off to the director and producer and writer.... perfectly written and connected plots in each scene with best humor and sensible poems along with flute combinations... i don't know if any other Pahadi movies like this exist but deepak dobriyal you framed and displayed the best acting... God Bless you and best wishes to all cast to keep the spirit up and making such good movies... three cheers!! :)
a beautiful movie !!!
ramangharsangi9 April 2013
Warning: Spoilers
Just happened to watch this movie on the cable.Have been a fan of deepak dobriyal since omkara,1971 and Tanu weds manu.this movie directed by Bela negi is a revelation in itself.made on a modest budget that reflects in the production values this movie makes up for more than that in the exquisite storyline and memorable performances by the stellar cast spearheaded by dobriyal.A simple story of an ambitious protagonist who migrates to the city to make it big but returns disillusioned to his native village.the quaint and static life in the village makes him morose and erratic.a free spirited poet he seems to be shackled by the conventions of the village.the sole silver lining in the cloud is 'the woman in red' symbolizing entrapment and guile.she looks glittery but is not gold.the director has very effortlessly captured the myriad ethos and essence of life in the hills.Being a native of the Himalayas(lahaul n spiti)I'm familiar with issues that the director has tried to raise.Alcoholism,environmental degradation,petty jealousies, local politics have been captured effortlessly.there are many layers in the plot.The Director has included the 'red car' plot just to inculcate 'willing suspension of disbelief'.the protagonist is just a face in the crowd but the coming of the red car makes the natives look at him in awe mixed with jealousy.the red car leads to minor upheavals in the otherwise salubrious climes of the village.the car symbolises crass commercialization and its adverse fallout.just like the lady in red who looks bewitching but in reality is a ill behaved entity,the red car looks like a harbinger of good fortune for the protagonist instead it leads to more complications in his life.Another 'red'symbol is found in the rhododendron tree known in local nomenclature as 'bransh'.this tree is a native of the Himalayas and occupies abundant frames in the movie. the protagonist finds solace in two things;alcohol and his dream of establishing a kala kendra in the village. his relationship with his son is another sub plot in the movie.the son looks up to his father but his bumblings make him cynical.the father redeems his lost respect in the last frame of the movie.the movie moves along effortlessly and peeps into the life of the innocent hill people.most of the characters are goodhearted without any malice.the hills have been living for centuries but its the outside influx that has led to chaos.village life in Uttarakhand is almost similar to himachal.we share the same culture and values.i could immediately correlate to the characters and situations in the movie.the protagonist ultimately sacrifices his so called prized possession in favour of a calf symbolizing the victory of simplicity over gaudiness.......wish i too could do that !!!!
For a relaxed Sunday afternoon watch
aksh142129 November 2012
Well, the film is a simple tale but it stays with you for a long time. So it would be safe to say it is not that simple after all. There are plenty of rough edges but those give it an earthy feel. I felt that some supporting actors could have been better trained but on the whole most of them give a really good performance and the wife of Ramesh is just fantastic. I love the hills and it felt good to be transported there in a very real way. It left me with a feeling of nostalgia, a feeling that things are changing in our world a bit too fast ... and the desire to hold on to a simplicity that is conveyed in the film is something that everyone will immediately relate to. I recommend it for a relaxed watch on a Sunday afternoon and then again on the next Sunday.
Hills and Wheels :
sanjoyglobal1 July 2013
Before watching, I was intrigued by the title of the movie. The first thought that came to my mind that it must be a mountain movie with a political subtext. But it wasn't. The movie turned out to be much broader than that. The prime subject of the film remain as the people of Uttarakhand, their identity, aspirations and ambitions with the obvious backdrop being the picturesque Kumaon Himalayas. A simple tale involving an object of desire, a luxury sedan in this case, is then interwoven with earthy characters sprinkled with abundant 'pahadi humor' , a rocky version of dry humor tending towards malice. Some contemporary topics are part of this tale; education, television soaps and most importantly- identity of the people and their direction in life. The movie delves into few fundamental questions. What is achieved by creating a new state? Is such transformation, where girls aspire to be named as the much married bitchy TV serial women, kids walk and talk in English without knowing what they are learning, justified ? Where migrating to a big city is still the biggest aspiration ? Men gamble with cards and get drunk by sundown. How does this new state affect the people and boost their confidence ?
Bela, hailing from Uttarakhand, knows her roots, feels the dilemma and expresses it in cinematic medium. I have observed, when a writer directs a movie, there's always a lot of attention to detail. Daayen Ya Baayen would be a treat to the observant audience, to gather the subtle nuances of the characters, the slick coordination of certain sound and visuals to create a humorous note, the framing, dialogs and at times, silent expressions.
There are quite a handful of characters, each with their own idiosyncrasies and colorful traits. One of the most important aspects on this film is that it is also made with the local people. Other than three major roles (Deepak Dobriyal, Manav Kaul and Badrul Islam), all other characters are played by local actors and artistes. Reportedly, some of them have faced a camera for the first time. Large number of school students are featured in certain scenes and as I understand, shooting were conducted without any workshop or training. Ramesh's family members, especially his little kid (Pratyush Sharma) and his wife (Aditi Beri) sourced from the region seamlessly merges with the household and domestic brouhaha. The wife, particularly in the scenes of her 'outrageous housekeeping' antics is hilariously natural.
Deepak Dobriyal is simply brilliant as the protagonist. His acting prowess probably comes from his theatrical background. Deepak is a powerful actor. In this film, his character is a sublime combination of a poetic dreamer and an ambitious visionary, but unintentionally ending up being a loser or playing the jester. He teaches his son to hand stand, as that will facilitate blood flow to the brain. He makes poetry. He learns driving. He drinks country liquor. Still, he tries to impart basic values to his students and his son. He does it with intensity. This is undoubtedly, his one of the meatiest and finest performance on screen. His character is beautifully supported by Badrul Islam, a fan boy hopelessly sweet in his own way. Pratyush as Ramesh's son radiates lot of potential who reminds of the kids in Majid Majidi's films. This film too makes way for filmmakers who, while trying to entertain, are also willing to create meaningful content on realistic themes. While the movie is predominantly based on the people and societal culture of Uttarakhand, it talks about certain values, identities and aspirations which is identifiable beyond geographical boundaries. DyB deals with is much down to earth issues and materialistic aspirations, but with lighter mood. The tone of the film is bright and upbeat, and it never loses its humor even at its darkest point.
Though DyB is a low budget film, the production value is high. The cinematography( Dop Amlan Datta), costumes (by Nikunj Vyas), music are elaborate, well detailed and very entertaining. The magnificent locales, panoramic views, bright sunny days, winding hilly roads, vivid hues are all part of the captivating storyline, all captured candid which prevents it to become a documentary. There's a scene where, Ramesh with his son walks along the narrow stone steps and a rainbow shimmers on the horizon- absolutely stunning! The film is full of many such colorful occasions of happiness, sorrow and surprises. Arguably, films shot on picturesque mountainous locations are somewhat vulnerable to the landscape overpowering the characters. But it's the good director's panache to make them blend with the terrain, but to retain their own importance in the plot. Bela, is quite successful in achieving a fine balance between the characters and the backdrop, interdependent but collectively complete. The BGM by Vivek Philip is upbeat and pertinent with the visual setting. There's only one song, a spontaneous upbeat one, sung by Zubin Garg on which the entire village makes merry !
The narrative is simple, believable, straightforward and chronological. Though in the otherwise logical narrative, absence of mobile phones or a gas filling station does feel a bit conspicuous. Remember, the car plays the pivotal role (also to some extent literally, by the end of the film). While almost all aspects of the car and driving was captured in detail and expressed with much humor, one or two instances of gas filling could have been added, keeping practicality in mind. In another scene against sunset where Deepak leans against his sedan, quite looks like an advertisement, probably of a car. Otherwise the screenplay is taut and at places emotionally involving. The films takes it own time to develop the plot, which some may term as a slow start, but once Deepak takes the steering, there's no brake.
Overall, a high quality satire intelligently packaged within an entertaining cinema. Watch it, you may feel right after you've left the theater.
Bela, hailing from Uttarakhand, knows her roots, feels the dilemma and expresses it in cinematic medium. I have observed, when a writer directs a movie, there's always a lot of attention to detail. Daayen Ya Baayen would be a treat to the observant audience, to gather the subtle nuances of the characters, the slick coordination of certain sound and visuals to create a humorous note, the framing, dialogs and at times, silent expressions.
There are quite a handful of characters, each with their own idiosyncrasies and colorful traits. One of the most important aspects on this film is that it is also made with the local people. Other than three major roles (Deepak Dobriyal, Manav Kaul and Badrul Islam), all other characters are played by local actors and artistes. Reportedly, some of them have faced a camera for the first time. Large number of school students are featured in certain scenes and as I understand, shooting were conducted without any workshop or training. Ramesh's family members, especially his little kid (Pratyush Sharma) and his wife (Aditi Beri) sourced from the region seamlessly merges with the household and domestic brouhaha. The wife, particularly in the scenes of her 'outrageous housekeeping' antics is hilariously natural.
Deepak Dobriyal is simply brilliant as the protagonist. His acting prowess probably comes from his theatrical background. Deepak is a powerful actor. In this film, his character is a sublime combination of a poetic dreamer and an ambitious visionary, but unintentionally ending up being a loser or playing the jester. He teaches his son to hand stand, as that will facilitate blood flow to the brain. He makes poetry. He learns driving. He drinks country liquor. Still, he tries to impart basic values to his students and his son. He does it with intensity. This is undoubtedly, his one of the meatiest and finest performance on screen. His character is beautifully supported by Badrul Islam, a fan boy hopelessly sweet in his own way. Pratyush as Ramesh's son radiates lot of potential who reminds of the kids in Majid Majidi's films. This film too makes way for filmmakers who, while trying to entertain, are also willing to create meaningful content on realistic themes. While the movie is predominantly based on the people and societal culture of Uttarakhand, it talks about certain values, identities and aspirations which is identifiable beyond geographical boundaries. DyB deals with is much down to earth issues and materialistic aspirations, but with lighter mood. The tone of the film is bright and upbeat, and it never loses its humor even at its darkest point.
Though DyB is a low budget film, the production value is high. The cinematography( Dop Amlan Datta), costumes (by Nikunj Vyas), music are elaborate, well detailed and very entertaining. The magnificent locales, panoramic views, bright sunny days, winding hilly roads, vivid hues are all part of the captivating storyline, all captured candid which prevents it to become a documentary. There's a scene where, Ramesh with his son walks along the narrow stone steps and a rainbow shimmers on the horizon- absolutely stunning! The film is full of many such colorful occasions of happiness, sorrow and surprises. Arguably, films shot on picturesque mountainous locations are somewhat vulnerable to the landscape overpowering the characters. But it's the good director's panache to make them blend with the terrain, but to retain their own importance in the plot. Bela, is quite successful in achieving a fine balance between the characters and the backdrop, interdependent but collectively complete. The BGM by Vivek Philip is upbeat and pertinent with the visual setting. There's only one song, a spontaneous upbeat one, sung by Zubin Garg on which the entire village makes merry !
The narrative is simple, believable, straightforward and chronological. Though in the otherwise logical narrative, absence of mobile phones or a gas filling station does feel a bit conspicuous. Remember, the car plays the pivotal role (also to some extent literally, by the end of the film). While almost all aspects of the car and driving was captured in detail and expressed with much humor, one or two instances of gas filling could have been added, keeping practicality in mind. In another scene against sunset where Deepak leans against his sedan, quite looks like an advertisement, probably of a car. Otherwise the screenplay is taut and at places emotionally involving. The films takes it own time to develop the plot, which some may term as a slow start, but once Deepak takes the steering, there's no brake.
Overall, a high quality satire intelligently packaged within an entertaining cinema. Watch it, you may feel right after you've left the theater.
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