Known for his works in the Bengali language, “Raincoat” marked acclaimed filmmaker, late Rituparno Ghosh’s first foray into the Hindi language. Based on O Henry’s short story “The Gift of the Magi,” the movie follows Manoj/Manu (Ajay Devgn), an unemployed man from a small town visiting the big city in hopes of borrowing money from old acquaintances just to tide him over. While there, he also decides to drop in at the home of Neerja/Niru (Aishwarya Rai Bachchan), an ex-lover with whom he parted ways bitterly. He realises that a lot has changed since her marriage. The bright-eyed, free spirit he once knew, loved, and misunderstood seems to now be in the same boat as him, reduced to a shut-in due to uneventful circumstances
In his previous work, such as “Titli” (set amidst wintry tea estates), either deliberately or not, Ghosh has maintained a similar festive aesthetic. While “Raincoat” unravels amidst relentless Calcutta monsoons instead of Christmas Eve (and also replaces the happily married couple in the source material with separated and regretful soulmates), this adaptation still retains the festive cheer of the original. This is particularly when it culminates in the heartwarming gift exchange between the leads. It excellently blends a dreary atmosphere with a poignant sense of warmth and comfort we commonly associate with the holiday season. It also spreads the message that nobody is ever alone, and thus, I’m of the opinion that “Raincoat” counts as an unorthodox holiday film.
A Character-Driven Film
The film is a character-driven, chamber piece centered around its heroine. She is confined to the four walls of a stuffy house laden with antique furniture, almost entirely closed off from the rest of the world. However, it isn’t primarily about the ex-lovers, as even the titular inanimate raincoat plays a central role in bringing Niru and Manu closer to the closure that they both so desperately crave. It works to heal their broken hearts and protect them from the literal and metaphorical cruel and seemingly endless downpour.
Known for highlighting social issues through cinema via the feminist lens, Ghosh also touches upon the vulnerability of women in a man’s world. We see this in Niru, who is susceptible to bending to the whims of her parents, trapped not just in her house but also between negligent husbands, selfish exes and her own suppressed desires. The movie draws parallels to her irrational fear of being locked in an aeroplane restroom, which prevents her from travelling (she opens up about the same only to Manu, who is her sole confidant and shoulder to cry on), to her lonely existence behind closed doors. It is also a refreshing and progressive portrayal of ‘real men.’ We see guilt-ridden Manu venting out his frustrations and crying in the bathroom for all to hear rather than bottling up his emotions.
Bachchan and Devgn Reunite
The storytelling benefits from meaningful editing by Arghakamal Mitra, as a scene of Manu opening a window to let the air in at Niru’s house immediately transitions into a flashback to her wedding day, which he attempted to futilely prevent. The colour palette also complements both the present and past sequences, with dreary colours matching Niru’s solitary confinement and more pleasant, brighter and vibrant colors. This is reminiscent to a wedding trousseau during the lovers’ first meeting. It also mirrors when Niru tearfully breaks off her relationship with Manu on Diwali in favor of a luxurious and secure life. The promise of cars and luxury match the color of her wedding henna and sindoor (vermillion red). Little does she know that her future is filled with nothing but leftovers.
After starring opposite each other in the thriller “Khakee,” which also displayed the pair’s natural onscreen chemistry, Bachchan and Devgn are once again in top form in “Raincoat,” fully embodying their respective characters. The duo impresses with subtle mannerisms such as Niru nervously chewing on her gold chain, or Manu hesitantly reaching out to her as she breaks down inconsolably over unpredictable circumstances dashing her hopes. The actors shed light on a mutual inability to console one another and bare their true selves due to a fear of rejection or at the risk of opening old wounds.
A Wholesome Film
Sameer Dharmadhikari and Mouli Ganguly also offer formidable supporting performances as Alok and Sheila, Alok’s wife. Alok is Manu’s chagrinned friend who dissuades him from reuniting with Niru since he saw the fallout after their breakup while Sheila, is more supportive and understands Manu’s motivations. Sheila is another such pivotal character; she allows Manu to borrow the raincoat as it’s raining cats and dogs, thus inadvertently presenting him with the biggest gift of all.
“Raincoat” is a wholesome film without being overly syrupy, and leaves viewers with the simple message of how acts of kindness and selflessness are the greatest gift. The movie also imparts how these can be the best and purest form of closure or moving on as well. Especially in a lonely and materialistic world, offering somebody respite when they’re at their lowest can also be the truest form of love. After all, everyone is deserving of a secret Santa who looks out for us, and who’s got our back through thick and thin.
