Salaam Venky

We often on this channel talk about the death of mid budget to low budget movies and while there will always be outliers of course, the general consensus is that movies that dont guarantee escapism, scale or mass entertainment are bound to be rejected by audiences going to theatres. So when I went for the Revathi directed film Salaam Venky based on the book the last hurrah written by Srikanth Murthy, I was heartbroken to see the little to no takers that existed in the theatre. What’s true post the pandemic and at least I can say this for the hindi speaking audience is that one is not really willing to pay the soaring prices of theatres for a film that is destined to only leave them as an emotional wreck and Salaam Venky is precisely. Showcasing the story of Sujatha played by Kajol, a single mother taking care of her son, Venkatesh whom is suffering from a genetic disorder DMD which progressively makes the individual loose control of their muscles, ultimately destined to an early death. When all hope is lost and Venky knows there is only one destination to this journey, he requests his mother as his dying wish for euthanasia, as he would much rather be of some use to the needful rather than lie as a vegetable and burden to his mother. This story is inspired from the life of Kolavennu Venkatesh, whose death in 2004 sparked a nationwide debate on the moral and legal implications that come with Euthanasia. The film has a daunting task to not only present the complications from a societal POV but also at the same time present a heartbreaking tale of a mother and son, one whom selflessly dedicates her life to the longevity of the son and the other whom just through sheer will power preservers despite what experts conclude! While one would want to believe the core of the film is the complex topic of euthanasia, its core is the emotional bond between a mother and son and genuinely pleading and putting a point across in a world that doubts ones intentions from the onset. Vishal Jethwa is an actor I have always been rooting for ever since his debut with Mardaani 2. A young actor whom has a hold on the craft so well that he honestly does have all the makings of a future star. Venky holds on to humour as his way of coping with the traumatic situation he finds himself in. He reaches out to his childhood love and wishes with the iconic DDLJ dialogue PALAT and that eh does the same on cue, he jokes with his mother of his last few days on earth with the iconic KAL HO NAA HO dialogue of, KYA PATA KAL HO NAA HO and both the mother and son bond over Venky’s favourite film, Anand and the legendary lines, ZINDAGI BADHI HONI CHAHIYE LAMBI NAHI BABU MOSHAYE. This is what makes the journey of Salaam Venky bitersweet because you laugh momentarily but become immediately distraught and a loss for words because you know what’s lying ahead. Vishal really brings life to Venky as ironic as it does sound and I really could not hope and wish for a heartfelt portrayal of a boy just wanting to do the right thing. Kajol really hones in on the mother dedicated to her son. She has dishevelled hair, sullen eyes, is in a constant panic, is on edge around Venky, has anxiety while he sleeps and is ready to sprint if the world demanded it no matter how exhausted she may be. I can’t even imagine the emotional rollercoaster this may take on mothers around the world because that bond and love is something unexplainable as its only felt rather than expressed in words and Kajol precisely does that. She does not want to let go and it takes ever morsel of her body to accept her son’s dying wish. In one moment, Kajol holds on to him almost as if in a metaphorical edge, begging and pleading for him to return and it really does showcase an example of an actor in such fine form. Both the leads are assisted by a stellar cast of Rahul Bose, Rajeev Khandelwal, Priyamani and Ahana Kamra but I would be lying to you if seeing Aamir and Kajol together, didnt give me flashbacks of their dynamic from Fanaa. An integration into the screenplay that is both understated and effective especially when asked if Venky will be able to run on the other side, he exclaims, DAUD SAKEGA JEE BHAR KE, MAUT TAKLEEFON KA ANT HAI! There is merit to the argument that the screenplay of the film is sluggish and does heighten its background score far too many times when a character is about the deliver a hard hitting emotional speech but if the goal of the film was to highlight several facets both from a societal point of view and an individual’s journey dealing with an inevitable yet complex problem like death I think Salaam Venky does a great job with that. Even though Mithoon’s music acts more like a montage to the films screenplay, JO TUM SAATH HO sung by Shreya Ghoshal will make even grown men cry! This may be the new normal now where movies like this are destined to find its audience Digitally vs in theatres. I swallow such a reality with huge lump in my throat because emotional heartbreaking tales like this also deserve an audience, needless to say many people will not talk about this film also because it doesn’t serve their best interest of views and engagement!