Rating: 1.5/5
Director Hari Viswanath fails terribly in the job of bringing out the emotions of the story

It’s very sad to see a simple and decent story fall like a house of cards because the main aspect fell weak. The direction in Bansuri is so naive that while you see pathos, anguish, and sweetness in the plot, you don’t feel one thing.

Watch the trailer here: 


A family of three, a woman, her little son, and her father-in-law live a happy life amir financial crisis. The son decides to become a flautist like his father, who he has been told, lives abroad.


The film is based on Vanavillin Ambbu
by Augusto with screenplay by Viswanath. Technically and ideally speaking, there’s no glitch in the story at the outset. It is a no nonsense story with all the plot points and structural elements in place. The setting, rising action, falling action, the climax- all are in place. The nature of the story is such that if you read it, you’ll be really invested in the narration.

The problem is only when the story has taken shape on screen. All the charm and fervour in the narrative is lost. It is here that you realise how important is the director. Give the same story to someone more mature and sensible, and you would see the magic. There are moments in the film that you clearly identify as having completely lost their feeling owing to poor direction.

bansuri, hindi, review, film, 2021
A scene from the film (image source: youtube.com)

There are layers to the story. Dynamics between little kids, how the family is shown to be loving and caring, how an estranged musician becomes the teacher, how the father is presented to be, and how music is woven into the screenplay.

The situations are tragic. The events carry grief. The helpless mother fighting with so much in life, a son who wants to be like his father, a music teacher who extends all the help, a father who has a temperament of his own. At one point the woman gets frustrated or somewhere very happy. The son gets really sad. The father-in-law makes a beautiful effort for his family members. You see all this within the story. But never for once on screen. The approach is so laid back and lethargic that you’re eternally bored in this family drama.

The main focus point of the film is flute. But why? This is a question that you will not find an answer to. This will leave you with a bad taste. With such casual and uninterested dialogue delivery all throughout the film, you wonder if there was any effort taken in making the spoken lines reach you with conviction.


Rituaparna Sengupta falters so many times. Since you don’t expect this from her, you are utterly disappointed. Her dialogue dubbing has also been a little off.

Ankan Malick, the kid is present all through. Mostly he is plastic, but is still okay to watch. Not great. Not bad. He has given his best though. Masood Akhtar has done a good job. You’ve seen him before. You like to see him here as well.

Bansuri, review, film, hindi, 2021
Clips from the film (image source: mashableindia.com)

Meher Mistry brings faith in the plot as someone who not only supports the main character but also the plot in its flow. Hers is an important character. She performs nicely. Upendra Limaye has some moments to him and he is just okay.

Anurag Kashyap is the only actor in the film that makes sense. Looking at him in this film, you wish he should make more acting appearances. He’s performed sincerely.


Music is composed by Debajyoti Mishra. The film has two songs- both of them melodious and deep enough to give the situations a soothing feel. Score is also decent. Not bad. There are some particular points in the film lifted by soulful score. Thankfully.

Cinematography by Grzegorz Hartfiel is inclined towards being flat and lame. Some shots are still fine but mostly, it’s very dull. For instance the entry shot of Kashyap- he is not shown at all. In such times you wonder if there’s something special about it. But just in the next scene, he is shown to enter casually in the frame. Production design by Jayashree Lakshminarayanan is fine in the outdoor locations. But it falls back indoors. May be because the set required designing there. The visual appeal could be so much better.

Editing by Sreekar Prasad is also improper at so many junctures. There are random abrupt cuts- of sound as well as visuals. But you can’t actually blame him. The poor direction and the quality of the shots hasn’t given him enough to play around with.

This is a classic example of what half hearted or rather utterly weak direction do to a reasonably good story. Respect the directors for what they bring to the table. Yes, they deserve credit for how the film will look like. This one here is bland and tasteless.

Rochak Saxena

Rochak Saxena a Mass Media Teacher, former journalist at DNA and an ardent lover of Hindi films - literally. The blog derives its name from the popular term ‘Willing Suspension of Disbelief’, most commonly used in the world of literature and cinema. Meaning to immerse yourself in an unreal world (where you know what you see on screen is fake) with a self-proclaimed/declared belief/wish to consider it real, the willing world becomes magical. It’s the same magic every Friday that drives Rochak to share things in the perspective that it needs to be observed with. Every film is different. And the difference needs to be cherished.

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