Bollywood and culture in an emerging India
Towards the end of Rajesh Mapuskar’s “Ferrari Ki Sawaari“, as the protagonist and his son are re-united and embrace each other, cry and wipe the tears off each other’s cheeks, an onlooker hesitantly asks “aap jaldi karenge zara?” (would you please hurry up?). It might sound like an insensitive thing to say, but perhaps that is what someone should have said to Mapuskar as he went about making this film.
Perhaps he might have restrained himself from writing a convoluted and at times contrived script that seems to stretch on for longer than its 2 hour 15 minute duration.
But Mapuskar seems hell-bent on extracting every last tear or making the audience go “awwww” every single minute, and borrows heavily from mentor Raju Hirani’s style of feel-good tear-jerkers. Unfortunately, he cannot pull it off quite as well as Hirani does.
Mapuskar has the germ of a good idea in the story — that of an earnest, hard-working father who wants the best for his son, but cannot always provide that, thanks to his middle-class existence. When Rusy’s son Kayo wants to participate in a cricket camp which will take him to the hallowed Lord’s cricket ground in London, he has to arrange 150,000 rupees (approximately $2700).