If you cared to notice, I wrote Dan’s expression, not Varun Dhawan’s expressions. That’s what this film does to you and that’s exactly what a remarkable performance is all about – it makes you forget the actor and focus on the character.There’s a reason why you connect with Dan the most. Dan is a symbolism for our innocence. The innocence that we kill while on our way to growing up and becoming ‘practical’.
In a ‘practical’ sense, it would have been silly to ruin one’s life and career for a girl who barely knows you and you aren’t even sure if she loves you or not.It wouldn’t make sense to hang on to hope, especially in a case where even the doctors seem to have given up. Yet you have a protagonist, Dan, who juggles between hospital fraternity and hospitality industry, for his colleague, Shiuli (Ably essayed by Banita Sandhu) infusing hope in the life of Shiuli’s mother, Prof. Vidya Iyer played to perfection by Gitanjali Rao.
The background score by Shantanu Moitra, the cinematography by Avik Mukhopadhayay, editing by Chandrashekhar Prajapati, direction by Shoojit Sircar, and above all, writing by Juhi Chaturvedi makes ‘October’ a compelling watch that stays with you even after the curtain ‘Fall’.To sum it up, ‘October’ isn’t a film, but a visual metaphor of contrasts – Contrasts of hope and giving up, head and heart, love and probability of love, assurance and uncertainty, career and conscience, life and death, acting and reacting and commercial and art cinema.
Like Rumi quoted, “Out beyond ideas of right doing and wrongdoing, there is a field. I’ll meet you there.” October lies in that ‘there’ space. And trust me, that’s a space our films ought to be. It’s high time the ‘Fall’ of silly cinema ends, giving way to Shiuli blooms of October films. This film, dear folks, is a genre that makes you think how fragile our life is and how strong hope can be, despite losing it all, how one can conquer it all. Shoojit Sircar, Juhi Chaturvedi and Dan, take a bow.