TTMM review: Refreshing story, believable characters make film an enjoyable watch

'Once you cross a particular age, it’s difficult to find a match.'

'Your biological clock is ticking.'

'Travel and all is okay, but you will have to settle down eventually.'

'This match is perfect — only child, rich family, own house.'

'Once you marry, you can adjust.'

'What do you mean you want to live by yourself?'

How many of you reading this have been subjected to statements like these or been party to such discussions?

TTMM (Tuzha Tu Mazha Mi) makes an attempt to show the pressures young people are subjected to in the name of 'settling down'. The topic of ‘marriageable age’ and choice always draws varied opinions, with the affected parties arguing that parents need to see the viewpoint of their children who are averse to marriage while parents, often acting under social duress, force children to get involved with strangers (well, almost) and don’t realize it until the plan backfires. The children may see why the parents get jittery with the idea of late (or no) marriage, but no reasoning seems enough to bridge this generation gap.

Jay (Lalit Prabhakar), a travel enthusiast [obviously rich and carefree], is being coaxed into marrying a family friend by his mother and sister. Family members using their illness or age to blackmail reluctant youngsters is not uncommon. And of course, the father berates him for not joining the family business. So Jay hesitantly agrees to marry, even as his mother’s diabetes comes under control and everything seems normal again. As the day draws closer, Jay gets cold feet and decides to run away.

Another person who has run away to escape the pressure to marry is Rajashri (Neha Mahajan), a fairly coy young woman who has never stepped out of her city alone. The two meet on a bus to Goa, but start off on the wrong foot. They bicker through the journey, finally getting kicked out in the middle of nowhere. When Rajashri’s backpack is stolen, Jay offers to help her. An unfortunate turn of events land them in a police station, and lots of lies later, the overly emotional inspector Bandekar gets them married in a temple. They play along to save themselves from jail, until their respective parents turn up and they are forced to keep the drama going.

Tejal Wagh’s story, screenplay and dialogues are relatable and completely believable. He manages to infuse his screenplay with real conversations between different characters at different times that add to the charm of this story. This one is not just the reluctant love story of the protagonists but also a mirror to society that attaches needless importance to a person’s marital status.

Director Kuldip Jadhav extracts good performances not only from the lead actors, but also from the supporting cast that forms the families of Jay and Rajashri. Lalit Prabhakar delivers a deliberately understated performance as the nomad who would rather be playing cricket with village kids than making boring presentations. He has a commanding screen presence, and it would be interesting to see what he picks next.

Neha Mahajan is expressive, especially in the emotional scenes. Their chemistry, according to the demands of the story, remains aloof. They remain aware of the fact that they are in a situation they weren’t prepared for.

Vidyadhar Joshi and Savita Prabhune as Jay's parents display a certain maturity once they face the reality of what a mess they have got their son into. Satish Pulekar as Rajashri’s dad plays a sensitive, understanding man who would rather have his daughter happy than have her married off to an imbecile. Some of the conversations between Jay and his dad and between Rajashri and her dad are heart-warming and real. It is refreshing to see how the fathers are entrusted with the job of talking about responsibilities, freedom, choice, moving on, etc. Seema Deshmukh displays just the right amount of nervousness for a mother whose daughter refuses to accept proposals and eventually runs away from home.

Comic relief is aptly provided by Pushkar Lonarkar who plays Rajashri’s brother and Sagar Karande, who gets dumped hilariously, not once, but twice.

Mayur Hardas’s editing is tight (the film is a little over 2 hours long), and his cinematography positively impacts the look and feel of the film. A few top shots of fields on the way to Goa and of the narrow streets lined with palm trees in Goa are effectively captured by Hardas.

Among the many songs, ‘Sajire Gojire’, which runs with the opening credits, is quite memorable. The non-linear style of narration saves the audience from boredom.

TTMM is not without its flaws. We wish there was more depth to Rajashri’s character. We are never told what she does apart from refusing proposals. Rajashri’s character traits are spoken of (her mother saying she is headstrong, father saying she is different, and brother saying she is a miser) but never shown on screen. It makes her one-dimensional and uninteresting. The temple wedding seems a bit contrived, and you wonder why Jay doesn’t oppose it vehemently, considering he ran away from one.

TTMM effectively echoes the story of many homes today, where parents and children lock horns over the topic of marriage. It deals with complicated relationships in today’s world and the averseness to the idea of marriage. Writer Wagh and director Jadhav handle the issue maturely, entertaining along the way. Watch TTMM for the performances and refreshing approach.