Tribhanga review: Celebration of the flawed, real, beautiful pieces of life

Tribhanga: Tedhi Medhi Crazy

Cast: Tanvi Azmi, Kajol, Mithila Palkar, Kunaal Roy Kapoor, Vaibhav Tatwawaadi, Kanwaljeet Singh, Maanav Gohil, Shweta Mehendale

Writer/Director: Renuka Shahane

Rating: ****/5

Read the review at: https://topleadindia.com/2021/01/16/tribhanga-review-celebration-of-the-flawed-real-beautiful-pieces-of-life/ 

The word "Tribhaṅga" denotes the standing pose of the body curved in an S shape, found in traditional Indian sculpture and classical dance forms like Odissi. In the Netflix movie, it symbolizes the imperfections reflected in the lives of three generations of women. Director Renuka Shahane has beautifully sculpted each character in the movie while depicting that it’s often the flaws that make us what we are and the same need to be accepted in order to love unconditionally.

Each frame of the movie unravels the myriad shades of each of the three characters, right from the writer protagonist Tanvi Azmi to her Bollywood actress daughter Kajol, and the homemaker Masha played by Mithila Palkar. The three have extremely different personalities but each one of them is living the life of their choices, but holding deep resentments. But even deeper is their love for each other buried in the recesses of their hearts.

The movie begins with an illustrious but ageing litterateur Nayan (Tanvi Azmi) narrating her story to Milan (Kunaal Roy Kapoor), a videographer and PhD-holder in women’s literature, who is writing her biography and also an admirer of her feminist writings.

As Milan zooms in the camera on her and starts to record her story, the lines “Kya ab kuch jeena baaki hai …haan abhi bhi bahut peena baaki hai” by Nayan hit hard and say a lot about the life she has led. Nayan’s humour is dry, sarcastic and witty as she answers Milan’s questions about her life. Her bright smile and wit, hides her pain when she talks about her estranged relationship with her daughter Anuradha Apte (Kajol) and son Robindro (Vaibhav Tatvawaadi).

Nayan is a successful writer of the 80s who makes it big in the literary world but fails to keep her family and relationships intact because of her deep involvement in writing. Her trials and tribulations as she struggles with her mother-in-law’s daily tirades against her writing, reflect the societal mindset at that point of time. Nayan’s choice to walk out of the marriage and changing her children’s names to her maiden name is extremely revolutionary for the 80s era. Writer-director Renuka Shahane brings out the stereotypes and prejudices against a divorced mother, her relationship choices and the psychological impact it leaves on their children.

Shahane poignantly captures the bitterness that seeps in the parent-child relationship after Nayan’s second marriage and her subsequent relationship choices.

Her daughter Anu, an Odissi danseuse and a successful actress is as an extremely loud and bitter woman, but there’s a reason why she is the way she is. The flashback sequences provide insight to the traumatic events of her childhood that go unnoticed by her mother and thus leave a deep scar in her personality.

At one point, one would be compelled to hate her character, but as she reflects on the past and connects it with the new revelations of the present, Anu shifts her thinking and the transition is subtle and compelling. On the other hand, her brother Robindro has chosen the spiritual path. He supports his sister and her choices unconditionally. While he seems to be indulging in escapism, he says he has just accepted his fate because whatever is destined is bound to happen.

Anu’s daughter Masha (Mithila Palkar) is her polar opposite, choosing to get married into a conservative joint family. Masha’s calm yet fiery nature reflects the genes she has got from her mother and grandmother as she reasons her choices. It is the choices made by the three generations and the bittersweet relationship between them that define Tribhanga.

Tribhanga is a rare women-centric gem that has an equally powerful performance. The characters seamlessly flow in the script, enhancing it, making it alive and compelling. The actress of Kajol’s calibre deserved this kind of role where she can fully and uninhibitedly play her character. We have seen shades of this livewire in various roles in her Bollywood outings, but this one unravels it completely. Playing a real, raw and unpredictable character is liberating for many.

Shweta Mehendale as the young Nayan impresses in her brief appearance too as does Tanvi Azmi who plays the aged Nayan. Mithila gets a subdued character in contrast with what Kajol and Tanvi get to portray, but she makes it stand out.

Men in the cast are able to leave an impression too. Kunaal Roy Kapoor has thrown in his bit of surprises with his intense role of a writer Milan speaking dialogues in shuddh Hindi. His scenes with Kajol, completely opposite of his personality, are a treat to watch. The entire cast has anchored the plot well with their respective characters.

Maanav Gohil and Kanwaljeet Singh play brief, yet pivotal roles in the film. These are the characters so endearing that their small roles left the viewers asking for more. Renuka Shahane has yet again proven her prowess as a revolutionary, feminist writer. Do watch out for this movie as it doesn’t disappoint. But it might leave you with lots of questions. Tribhanga truly lives up to its name!