Rating: Strictly 2/5
Story:A couple with relationship on the rocks gets into further trouble because of their wish to settle in the US by any means possible.
In recent years, Nepali movie industry has been heavily influenced by the stage and television actors. Most of the successful movies, be it critical and/or commercial, have been the ones with either stage or television imprints all over them.
But, what happens when a movie showcases itself as a play run in a stage for most of the time? Yes, Dal Bhat Tarkari practically starts and ends in a room reminding viewers of yesteryears plays of venerable Maha Jodi. However, without a well-developed storyline as in those plays, this movie is handicapped by lack of any backstory behind the reasons why the lead characters wish what they wish.
The leads, Haribansa and Niruta live in their own house, which can be called lavish by average Nepali standard and earn one hundred grands a month. Their only son is already grown up and they have no other responsibilities. Yet they wish to go to the US supposedly to earn money, which is very unconvincing to the viewers. The movie starts with a fight between Haribamsa and Niruta, which takes up about 10% of the movie time. In fact, the very first act takes up almost 20% of the movie, giving the viewers that unwanted stagy feel.
The most problematic factor of the movie is that it starts as a climax. It is really difficult for a story to develop any further, which starts with such a hype in the very first scene. As a result, you only laugh in those funny moments, but never care for the end unless you have an appointment somewhere after two hours. The first act is irritatingly lengthy and is so engrossed in itself that it completely fails to establish the main plot. It confuses the viewers about the actual issue the makers are trying to showcase. The gold smuggling scene at the end is unrelated to the main story. For conscious viewers, too much of brand and product placements seem forced at times.
Let’s talk about what’s worthy of viewing in the movie. Haribamsa Acharya, also credited for the story, screenplay and dialogue have done a commendable job in the dialogue department. The one liners, situational comedies, characters’ subtle eccentricity (especially Haribamsa’s) draw plenty of laughs from the viewers. The symbolism of a goon, a criminal under the cover of religion, and a politician getting stinky together at the end in need of a thorough wash can’t be unnoticed.
The songs are passable, especially the title track has catchy beats. Tsujil Karmacharya remixed tracks at the beginning gives you just the right feeling to start the movie. Actors are strictly okay as they appear just how they have been in their previous movies and television sitcoms. Niruta Singh as a cranky wife of Haribamsa Acharya has performed with confidence but is unnecessarily loud at times. However, the very idea of having Aanchal Sharma as Robin Tamang’s daughter seem unintentionally funny. So was Wilson Bikram Rai as Basundhara Bhusal’s husband, but a convincing backstory is given.
If you want to disregard the movie grammar and occasional tweaks for sake of Haribamsa Acharya and situational comedies, you can digest this loud affair.
Producer: Kiran KC and most of the casts
Director: Sudan KC
Cast: Haribamsa Acharya, Niruta Singh, Puspa Khadka, Aanchal Sharma, BarshaRaut, Rajaram Paudel, Jayananda Lama, Shisir Bangdel, Robin Tamang,Shivahari Paudel, Wilson Bikram Rai, Bashundhara Bhusal, Yaman Shrestha, Mohit Acharya et al.