Going by the narrative of THE GREAT INDIAN BUTTERFLY, this is one film which really deserved to be titled ROAD, MOVIE. Reason? While 90% of the film has been shot outdoors, most of these portions have further been filmed on road, something which really brings in novelty to the proceedings.
So here we have Aamir Bashir and Sandhya Mridul, a young couple in their 30s, who are out in a road trip from Mumbai to Goa in an open air luxury car. However, there is a lot more happening as they discuss, or rather argue, about growing pressure in their professional lives, the toll it is taking on their personal lives, sex-less nights, longer days, peer pressure, promotion politics, recession dangers, extra marital rendezvous, DINK (double income no kids) phenomenon, a dream 4BHK sea side apartment and stuff alike.
Conversations like these have to be interesting enough to hold your attention for those 100 minutes. First timer Sarthak Dasgupta gets it right for about 70 odd minutes as those 20-30 minutes after the interval point drag, and how. The sound of a crying child from a distance becomes repetitive and annoying, the entire bickering and cribbing starts loosing it's steam while worse, the entire core of the film - THE GREAT INDIAN BUTTERFLY - is so documentary in it's essence, logic and presentation that there is no cinematic value to the entire episode.
Is that the only boring part of the narrative? No wait, there is more. The one way commentary provided by Barry John from start till the finish of the film only breaks the dramatic narrative of THE GREAT INDIAN BUTTERFLY which stays interesting for most part of Aamir-Sandhya conversations. Also, the coming in of one song after another right through the second half of the film makes it seem double the actual duration.
Thankfully, the moment focus shifts on Aamir-Sandhya, one feels involved with the going-ons again. It's hard to choose between the two actors here as both of them are excellent in their performances. Selection of English as a language for the film is a good decision as well as it leads further authenticity to the story. Of course this also means that swear words of all kinds would be the order of the day.
The film has its own share of drama with an extra marital angle involving Koel Puri thrown in as well. While audience is guided to believe in this being a reality for most part of the film, the twist in the tale (done quite well with an aid of a single SMS) is a very good stroke by the maker here.
In this tryst for happiness for themselves, the aspect of THE GREAT INDIAN BUTTERFLY is also aimed at being woven in as this mystical element is supposed to be the bearer of happiness, riches and peace. However, even if this angle would have been left aside and the focus stayed on just the life of an urban couple, film maker Sarthak may not really have lost much. Instead, he would have been able to make a far more commercially viable project, something which THE GREAT INDIAN BUTTERFLY is certainly not.
Watch it if you are a married couple and are in mood for some reality check with a fair bit of abstraction thrown in.