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Masand's Movie Review: Paa heart felt a mother-son

Cast: Amitabh Bachchan, Abhishek Bachchan, Vidya Balan

Director: R Balakrishnan

Like most children his age, Auro does not want his friends to see his mother dropped him off at school. He is not very fond of girls, and most of his jokes involve the pot and you place. In fact, he seems so obsessed with that specific body of his grandmother nicknamed "Bum" because they received a large.

Auro, of course, is the protagonist of the director R Balki's Paa. He is your average naughty 12 years old, except for the fact that he has progeria, a rare medical condition that accelerates the aging process. So although he only step in his teens, Auro has the body of a 65-year old.

In what can best be described as a casting masterstroke, Amitabh Bachchan steps in the (relatively) small shoes Auro. Contrary to the marketing of the film radiates Paa is actually a mother-son story. Vidya Balan Vidya plays single mom, who raises Auro with some help from her mother, after dumping her selfish boyfriend in college, when he suggested an abortion. Amol (played by Abhishek Bachchan) is not ready for marriage, he would like his father in politics to follow.

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Years later, Amol, now a member of Parliament, accidentally meets Auro at a school event, well aware of the fact that they are father and son.

Much in the same line as the previous film by director Cheeni Kum, the first half of Paa unfolds airy, with witty dialogue and clever scenes actually used to the characters and their relationships to establish. Steering clear of compassion, even in difficult scenes, Balki avoids the pitfalls that come with stories about characters who suffer from grim conditions.

There is a high velocity pieces before the break, a track where the young politician Amol launching a verbal attack on the media. It sticks in the film, because that scenario is so amateurish script and comes out looking embarrassingly complacent.

There are more problems in the second half of the film when the tone suddenly changes extremely manipulative, and several scenes in an unnecessarily tense as Delhi Metro where Auro Amol questions about the futility of having bodyguards.

Despite these hiccups, Paa is ultimately a fascinating film because of its largely original writing. One of the best scenes in the film is a hilarious phone conversation between Auro and a classmate of his, which declares that he is frustrated with how his father. Most scenes, in fact, between Auro and his friends at school are a joy to watch because of the natural performances Balki is able to borrow his child actors.

Of the cast Arundhati naag endearingly warm and feisty grandmum Auro, Qatar and Pratik gets his timing spot-on as best friend of Auro Vishnu. Abhishek Bachchan is a bit smug as the new generation politician, and tries a little too hard on the 'coolness' force down our throats.

At the end, Paa belongs to mother and son. Vidya Balan does her best work since Parineeta, the rise of the emotional soul of this film with a graceful, understated performance that create them with minimal help from the script. She puts a warm chemistry with Auro mother and her scenes with him, most of the movie heart felt.

The center of the action, of course Amitabh Bachchan. According to excellent prosthetic make-up, his baritone replaced by a squeaky childlike voice, Bachchan is Auro. There is no trace of the legendary 68-year-old star, what you get is a pitch-perfect performance as a boorish, but challenging teenager.

PC Sreeram's brilliant cinematography and Illayraja's soothing score help make up for many of the shortcomings of the script, and ultimately help to create a simple Paa, pleasant look.

I go with three of the five for director R Balki's Paa. Few filmmakers stabbing their necks out and difficult to tell different stories in these days of brainless entertainers potloads make money. For their intentions, the makers of Paa deserves a thumbs-up.