Delhi Belly, as the name suggests, is a film about digestive issues in their literal sense, and is inspired by the people of Delhi and their stomach problems. It’s a formulaic and absurd comedy made to break conventions by being different in its time. While successfully subverting stereotypes by using copious amounts of profanity and adding a touch of noir to the colour palette, this 100-minute journey is full of entertainment and laughs. The film tries hard to find its place in the dark comedy genre, but is bad language enough? Maybe for the laughs, but dark humour needs more than just swearing.
The film is very aware of its target audience and caters to urban millennials who use English as their primary language. Millennial lingo is sprinkled in here and there, although the swear words are mostly in Hindi and are used for humorous appeal. Tashi, Nitin, and Arup, played by Imran Khan, Kunaal Roy Kapoor, and Vir Das respectively, are the three main characters juggling their careers, rent and romantic struggles like many people around that age.
The first montage is beautifully shot and executed – foreshadowing the journey of the characters. Well-composed shots of running taps, water getting wasted, disco fighter posters, a cracked ceiling, leftover food with cockroaches on pizza, a messy room, and muted green walls filled with posters, set the mood of the film from the very beginning.
The writing of the film is very engaging, keeping the attention of the viewer throughout. This can be credited to Akshat Verma, whose resolution of multiple stakes across the film is satiating to the audience. The comic timing of all the characters is phenomenal, with due credit to the actors for executing the writer’s vision.
Every single character contributes to the film in their own way, and, none of them feel like supporting characters. In fact, they seem exaggerated because of their traits, be it Soniya, the landlord, Meneka or the antagonists. Each of their journeys are not without hurdles, those that get resolved and give the film a gratifying ending.
The cult favourite score by Ram Sampath adds another layer to the film. The pale, gritty yellow tones with muted reds, rusty browns and greens seem like an attempt to Indianise the dirty grunge milieu, not just for the aesthetics, but the very idea of poking their nose into the obsession that Bollywood has with propriety. Constant nasty attempts to introduce shit and toilets anywhere possible in the screenplay make sure the audience is familiar with this unsanitized universe where shit happens.
The editing could have been better with quicker cuts, but overall, it doesn’t affect the movie very much. The camera work and lighting are immaculate and align with the requirements of the story and plot. Overall, it’s a feel-good, no-brainer, stylised crime drama that's meant to be watched with your friends on a night’s stay. A lighthearted film with sharp, intricate plotting and a fast-paced storyline driven by a mere stool sample. This extravagant melodrama and scatological humour is a unique idea and is executed adroitly.
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