"Respected father of Shruti"
"Life is a beautiful journey"
"You never know what might happen next"
"All I know is that"
"you love your daughter a lot"
"She loves me"
"and I love her back"
"If we all love each other so much"
"Why don't we become a family?"
In today's menu
we have a film which is very sweet, just like its name.
Barfi is one of the most loved commercial movies in Bollywood.
And why wouldn't it be?
It is such a happy film which strikes a chord in everyone's heart.
But along with love, Barfi has also received fair amount of criticism
for lifting scenes from films like
City Lights, Cops, Singing in the rain, The Notebook and many others
I personally feel that despite all the plagiarism,
Barfi is a very well made film
and there's so much you can learn by studying this film.
So let's savour this film on today's menu.
Barfi is a 180 degree turn
from the kind of movies Anurag Basu has made in his past
all of which dealt with the theme of adultery.
On the contrary, Barfi is a heart-warming film
with a happy-go-lucky tone to it.
You can see the influence of French films
'Amelie' and 'The Double Life of Veronique'
in this happy tone.
Both Amelie and Barfi have quirky tales
behind the death of main character's mother.
Similar to Amelie
Anurag Basu makes use of quirky situations
music, voice over and color grading
to maintain the sweet and happy tone of the movie.
The narrative structure of Barfi is highly non-linear.
Many viewers had complained of this non-linear structure
as too confusing and unnecessary.
Let's have a look at the events in the film in linear fashion.
The first segment of the story set in 1972 Darjeeling
happens over the romance between Barfi and Shruti.
The next segment happens in 1978
when Barfi kidnaps Jhilmil in order to secure money for his father's treatment.
The next segment is set in 1978 Kolkata
where Barfi and Shruti reunite and Jhilmil disappears again.
The next segment happens over the course of Barfi's arrest and interrogation
Jhilmil's presumed death and aftermath.
And the final segment is set in present day
where Barfi is on the verge of death in a hospital.
The film begins at the final segment.
Barfi's well-wishers have gathered in the hospital
and are fondly talking about him.
"I don't want to talk about him, not a word"
"I've wasted half of my life chasing him"
The colors in this segment are desaturated
and gray color is used to emphasize old age.
Shruti is on her way to meet Barfi in the hospital
when she flashes back at the beginning of 4th segment.
After a humorous chase sequence,
Barfi is arrested and taken away to Darjeeling.
While Shruti is on her way to Darjeeling,
she starts reminiscing about her time with Barfi in 1972
We are treated to the story of how Barfi and Shruti met
fell in love
and finally parted their ways.
This changing relationship is beautifully portrayed with the aid of a cycle.
During the scene when Barfi approaches Shruti for the first time
and is rejected right away,
he bumps his cycle and falls down.
This indicates the jolt he has just suffered in his love life.
Once they become friends,
we can see their relationship progressing through the medium of cycles.
Initially, Shruti is riding solo on her own cycle.
As they grow closer, she starts to occupy the back seat of Barfi's cycle.
When they are totally into each other,
we see her sitting on the frame of the cycle.
When he is jilted by Shruti on the advice of her mother,
his cycle breaks down symbolising their break up.
Finally, when she is moving out of the city,
Barfi bumps the cycle again
and this time it is badly damaged symbolising his broken heart.
Blue color is extensively used in this segment,
particularly in the 'Ala Barfi' song.
Here, blue is the color of happiness
and it is used to symbolise the happy-go-lucky nature of Barfi.
It is also used to give a jovial mood to the film.
One thing I noticed is that almost 7 out of every 10 shots
have a glass window or door in it.
The shots are taken either through the glass
or with the window in the frame.
This happens throughout the movie and not just in this segment.
When Barfi sneaks into Jhilmil's house to kidnap her,
almost every shot in the scene is taken through a glass window.
This type of composition is called as 'Frame within a frame' composition.
In this scene, glass window acts as a barrier between Barfi and Shruti
which is preventing them from being together.
On one side of the glass is Shruti and her fiancé
while on the other side is Barfi
who can only look at her but cannot have her.
As if window shopping.
You can see how glass is used as an important element of visual storytelling.
After this segment is over, the film flashes forward to 1978
when Barfi is being interrogated.
Barfi explains the course of events
which happened around the abduction of Jhilmil
and the film jumps to the second segment of the story.
In this segment, you can notice a predominant use of yellow and green color.
The bank which Barfi tries to rob
has yellow colored walls and a green colored board.
Green leaves and grass are washed over in yellow of sunlight.
The color of Barfi's clothes, the color of the bus.
All of it is yellow green.
Let's study how this scene is shot.
The scene is filmed using a handheld camera with shaky movements.
This is done in order to give the audience
a feeling of chaos happening in the scene.
As Jhilmil gradually begins to calm down,
the camera also becomes increasingly stable.
By the way, did you notice the three musicians
playing music at various points in the film?
The musicians are invisible to the characters in the film
but are visible to the audience.
This is a director trademark of Anurag Basu,
which was seen in his film 'Life in a Metro' as well.
Once we reach at this point in the segment,
the film again flashes forward to Barfi's interrogation.
While Barfi is in police station,
Jhilmil is apparently killed in the process of exchange for ransom.
The cops continue with interrogation
and the film flashes back at the point in 2nd segment
where we had left off.
Jhilmil who has grown fond of Barfi refuses to leave him
and Barfi takes her with him to Kolkata.
The story then moves to the 3rd segment
where a chance encounter leads to reunion of Barfi and Shruti.
In this frame, Shruti is sitting between Barfi and Jhilmil,
which is used to highlight that
Shruti is intruding in their relationship.
A jealous Jhilmil disappears
and Shruti seeks the help of cops.
The film then jumps to where we had left off in the 4th segment.
The cops try to frame Barfi for the murder of Jhilmil
but he is saved by Inspector Dutta
who advises Shruti to take him away.
The scene where Barfi leaves on a train
and Shruti decides to join him
is one of my favorite scenes in the film.
This scene which lasts for 2 minutes and 9 seconds
contains 25 shots of different types
like Full Shot,
Medium Shot
Cut-in Shot
Medium Close Up
and Close Up.
All these shots are edited together to make one amazing scene.
The climax scene is also wonderfully edited.
Like here, close up shots of Barfi
are cross cut with extreme close ups of Dadu
to convey that Barfi is reading Dadu's body language.
Now let's study this crucial moment from the film.
Barfi and Shruti are walking away
when Jhilmil starts to call out for Barfi.
Jhilmil pops out of a window
which can be seen between Barfi and Shruti in the frame.
This is used to emphasize that
Jhilmil is trying to intrude into the relation
between Barfi and Shruti.
We then get a close up on Shruti
to highlight the dilemma she is facing.
In the next shot, Barfi steps forward and covers up the view of Jhilmil.
Her view is blocked from the frame to highlight that
Shruti is contemplating about removing her out of their lives
and thus out of this frame.
When Shruti finally makes up her mind
that Barfi is better off with Jhilmil,
the shot is taken from an angle such that Jhilmil is visible in the frame again.
This is done to show that
Jhilmil is now about to be a part of the picture again.
The film then returns back to where it had started.
All the well-wishers are done with their tales about Barfi.
Barfi and Jhilmil die together peacefully
and Shruti is left shattered by their deaths.
So this is how the film jumps back and forth in time.
And this is supposed to be a happy film.
So how could Anurag Basu let it end on a sad note?
So, he ends it with one last flashback
to a happy moment in their lives.
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