This is undercut by a tragedy that leaves her heavily wounded. It’s only when Arjun confronts her for the horrible thing she did to him, that Sunita finds some levelheadedness to introspect. Again, it’s very hard to sympathise with the Kapoors. She calls her family liars while visibly disgusted by Rahul. But Sunita feels just as victimised when she finds out Rahul’s secret. Then there are the anxieties of his adultery that made her a victim in her marriage. She feels insignificant when he takes money from her savings. When it comes to her feelings and aspirations, Sunita is constantly belittled by her husband.
Ratna Pathak Shah’s Sunita brings the film together. Vulnerable and strong, Rahul remains a landmark in LGBTQIA+ representation for Indian cinema. Family, society and culture expect him to be the vessel for prescribed virtues at the cost of being himself. Rahul is the deconstruction of the ‘perfect child’ and the ‘perfect Bollywood hero’. But this impossible task wears him down, Rahul tells Sunita in a heartbreaking scene. He’s more diplomatic than his mother Sunita, who loves him as the ‘perfect son’. He isn’t evasive like his angsty brother or egoistic father. Rahul is composed, responsible, and tries the most to keep his family together. Fawad Khan’s Rahul Kapoor, Arjun’s brother, is the soul of the film. Arjun is the least interesting of the Kapoors and works as a blank slate to understand the rest of his family. The film mainly follows Sidharth Malhotra’s (hilariously named) Arjun Kapoor. The characters say horrible things at the worst moments. They’re written, performed, and choreographed with clinical precision. There are three such feuds, which are the film’s highlights. Over time, their issues pile up until they break out in explosive confrontations. There’s friction whenever the parents and sons are in the same room. The Kapoors have warmth and cordiality among themselves but they aren’t a functional familial unit. The script doesn’t want us to root for the Kapoors, it wants us to understand them. This is unlike the traditional family drama because there aren’t any pleasantries inviting us in. Kapoor & Sons starts off unsettling, with death and tragedy looming in the air. This treatment exposes the contradictions of the traditional Bollywood formula while updating it for a new milieu and sensibilities. In Kapoor & Sons, writer-director Shakun Batra uses the framework of the Bollywood family drama and stretches it to its most authentic limits. The film turns five this March (but most importantly the titular lineage turns a hundred). Not only was Fawad’s character was lauded for breaking the regressive stereotypes of homosexuality on screen but the actor’s performance was hailed emotionally effective.Kapoor & Sons (Since 1921) is a 2016 Hindi film about a middle-class family in Coonoor, Tamil Nadu. “I keep making fun of him, ‘Tune Arjun Kapoor ko nahi liya but Arjun Kapoor ka naam le liya (You didn’t take Arjun Kapoor in your film but you took Arjun Kapoor’s name).’ Because Sidharth Malhotra ended up being called Arjun Kapoor in the film,” Arjun said. I have no qualms about playing either/or, wherever you see me fit, but I would like to work with you.’ And I know Shakun personally, so I called him up and said, ‘I would love to read and I feel I can play that role also. “I was never offered the film, I had just heard that the film was being cast but it was not proving to be an easy exercise. The Sandeep Aur Pinky Faraar star, however, ascertained that he was never offered the film but as he knew Shakun personally, he could directly offer to be a part of the film. Also Read | 5 years of Kapoor & Sons: When Rishi Kapoor said he offered to quit the film twice, fought daily with director Shakun Batra
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