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Goodbye Movie Review : A heartfelt funeral dramedy with poignant premise, sketchy execution

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

julieacharyaray 490 days ago

For a director who gave a fantastic movie like Queen, Goodbye was a very badly made one. Inspite of great actors like Amitabh and Neena Gupta, the movie floundered. The motive for the movie was good but it was just very poorly made. Rashmika’s Hindi accent was awfully mismatched, Amitabh’s constant anger was not understandable , the sons’ characters were not consistent, and some of the characters just came and went without any explanation -like the guy who was on of the pall bearers (who the uncle didn’t like). When Amitabh was talking to the ashes on the bank of Ganga, the monologue was so unnecessarily long! And the character of the colorful priest -he had a purpose that just never solidified. Nakul’s character came out of the blue and just wrapped up everything like a child telling a story. I was disappointed. 

Rohit 96 498 days ago

Okay Very Good Movie

sandy reddy 2 498 days ago

Loved the movie...emotions..values related movie ..must watch

Shrikant Wad 5 500 days ago

The father should have been more worried about her daughter living in a Livein relationship with Muddarssar than she not picking up her mother's call.<br/>Hindu rituals are important and no one should make fun of them.

Vishnu R U 26 501 days ago

The film features Ayushmann Khurrana in a never-before-seen avatar. In contrast to his previous socially-relevant dramas, here, he plays Maanav, a buffed-up Bollywood action hero who wears his stardom on his sleeve. Soon, Maanav loses track of reality, especially when the antagonist

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'Goodbye' movie review: This tear-jerker will make you call your family

It becomes easier to deal with death if you are a believer. Sure, the body of your loved one decomposes, becomes one with the earth, and maybe that’s it, nothing more. It’s like a flame getting extinguished, it didn’t know how it ignited and can’t point to the exact moment it snuffed out. Nobody knows what happens after we die. Do we become souls that find a home in other beings (crows?) or are we just reduced to manure?

In a scene in Vikas Bahl’s latest offering 'Goodbye,' Sunil Grover, playing a tech-savvy pandit, tells Amitabh Bachchan’s family the reason behind putting ashes in the Ganga. It is the mythical story of King Shantanu and his queen. How she took a vow from him before marriage: to not ask questions about whatever she does. How she bears a son and drowns him in the Ganga -- and seven after that-- to release them from the human cycle of life and death. “This is bullshit,” says Rashmika Mandanna, who plays Tara, the opinionated black sheep of the family, masking her grief in anger after her mother’s sudden death. “It is all because ashes have phosphate and it is good to mix it in the river, for better irrigation of crops.”

In a later sequence, the pandit takes Tara into a corner and assures her that what she said was correct. “But your story is boring. Has no beginning, middle or climax,” he says. “Your mother is gone now and all she has left you are her stories. What logic do you find in that?” Maybe that’s what we become after we die, memories for those who loved us, stories to be told to others.

'Goodbye' is the story of a family, dealing with the mother's demise. There is Amitabh Bachchan, the family patriarch, whose lips quiver when he is unable to sustain an argument. Pavail Gulati plays the dutiful, workaholic son, Karan, whose AirPods are plugged in even when he is taking his mother’s body to the crematorium. Elli Avram is Karan’s foreign wife Lisa, trying to be part of the family. There is also Sahil Mehta and Rashmika as Pavail’s siblings. The centre of all these diverse characters, like a bark holding the branches, is Neena Gupta’s Gayatri.

Sample this scene when the family is sitting around the body, the night before the cremation. Gayatri, like a spirit or a memory, comes from inside and sits with them. Everybody is in their character. Pavail’s Karan is sitting with his laptop, Rashmika’s Tara has a grumpy look on her face and Amitabh looks defeated. Gayatri looks at all of them, smiles and asks Karan, “Mr Workaholic, got leave from your job?” To Tara: “I asked you to wish Karan on his wedding anniversary, did you do? Now you’ll have to remember wishing everyone.” Finally to Amitabh, “You didn’t get any better photo of me to put?” There is a smiling picture of her, at the head of the body, a glass of red wine in hand. “Remember how much I drank that night?” It is such a heartwarming scene that you can’t help but smile, while your eyes well up.

ALSO READ | 'Goodbye' makers announce Rs 150 ticket price on opening day

The film is laced with beautiful nuanced scenes that take its viewers on an emotional roller-coaster. You cry and then laugh out loud, you smile in appreciation and then feel like calling your loved ones. Even in grim situations, Vikas Bahl’s writing finds scenes which make you laugh while you hate yourself for giggling. There is a sequence where Ashish Vidyarthi, as the funeral know-it-all uncle (“Don’t teach me, I have done it a thousand times”) asks the family to change the direction in which the body is placed. The viewers gasp and chuckle as the family tries to determine where north and south lie while managing to hold the body in place. Dark humour at its finest.

It’s commendable how each character has a back story and is ably handled by the actors playing them. Rashmika as Tara shows defiance in the little gesture of removing her jacket when Amitabh looks at her. She speaks a lot through her eyes. Even the house help, just before leaving for cremation, rushes back and turns off all the switches and locks the pet dog “Stupid” inside. Such a minor scene conveys how much the family depends on her. Elli Avram is perfectly cast as the foreign wife. She steals the show in a scene where she realizes, with teary eyes, that the Hindu meal doesn’t contain chicken. Amitabh as the piqued (read: ‘Pikued’), mumbling-under-his-breath father, is outstanding. In times like these, Sunil Grover as a holy man unites (“God is ours as we are his, how can he be upset with us?”). He is so effortlessly charming, it should be illegal. And then there is Neena Gupta, spreading serenity in every frame she appears in, like a mother’s calming embrace.

What the film deftly handles is the subject of death. Everybody learns from it in their own, unique way. Some let go of their hair (and their ego) others their rigidity and stubbornness. But I guess one can never get over the loss of losing a loved one, especially a parent. You might learn to live with death. Pavail Gulati’s Karan, in a scene, mindlessly calls out for his mother after a Golgappa vendor comes at the door. He keeps calling out for her and the truth sinks in with every ‘Maa’. Now stop crying stupid, it’s just a film.

Director: Vikas Bahl

Cast: Amitabh Bachchan, Rashmika Mandanna, Neena Gupta, Pavail Gulati, Sunil Grover

Ratings: 4/5 stars

(This story originally appeared on Cinema Express)

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Goodbye movie review: Amitabh Bachchan, Rashmika Mandanna's heartwarming tale will take you on emotional ride

Rashmika Mandanna makes an impeccable Bollywood debut in Amitabh Bachchan, Neena Gupta and Pavail Gulati starrer Goodbye.

Language: Hindi

Cast: Amitabh Bachchan, Rashmika Mandanna, Neena Gupta, Pavail Gulati, Sunil Grover, Ashish Vidyarthi, Sahil Mehta, Elli AvrRam, Abhishekh Khan

Director: Vikas Bahl

Star rating: 3.5/5

Believe it or not, it’s a natural human behaviour that a person who takes the utmost care and closest to you, will always be taken for granted. And yes, majority of time, these people are our mothers. Well, philosophically we often say that one should always communicate and convey their feelings as time is very uncertain and can make you regret if that person goes far away. But honestly, how many of us have implemented that?

Well, director Vikas Bahl ’s Goodbye brings out that aspect in the most wonderful way on the celluloid but that’s not the only core value of the film. The emotional drama is a heartwarming journey of Harish and Gayatri (played by Amitabh Bachchan and Neena Gupta ) and their kids played by Rashmika Mandanna , Pavail Gulati, Sahil Mehta and Abhishekh Khan.

The untimely demise of Gayatri gives a big blow to Harish and kids but as they go to perform rituals post her last rites, we see the spiritual-awakening process of the family. Vikas Bahl deserves applause for not wasting the time in character built-up and diving into the plot right from the first frame. The way he showcased the realism in the aftermath of a funeral will evoke various kinds of emotions in you.

The emotional roller-coaster will make you smile, laugh and cry with every character making a special place in our hearts. The film deserves a special mention for the beautiful montages, which showed us the emotional and wonderful relationship of Harish and Gayatri.

Talking about the performances, Amitabh Bachchan’s supreme act as Harish will definitely remind teenagers and people who are in 20s and early 30s about their father’s protective yet argumentative behaviour. The megastar evokes emotion brilliantly and leaves us awestruck. Rashmika Mandanna as Tara shines in Goodbye . The actress gets into the skin of this complex character, which is definitely relevant to the current generation. Neena Gupta’s presence and aura is magical. Whenever she is on the screen there is a huge smile on your face.

Talking about the supporting cast, everyone including Pavail Gulati, Ashish Vidyarthi, Elli AvrRam, Sahil Mehta and Abhishekh Khan have played their parts exceptionally well. A special mention to Sunil Grover who steals the show in his cheerful cameo and gives some great life lessons in the quirkiest yet memorable way.

Goodbye is a family treat, which is not to be missed.

Goodbye releases on 7th October in cinemas near you

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Goodbye Movie Review: This tear-jerker will make you call your family

Rating: ( 4 / 5).

It becomes easier to deal with death if you are a believer. Sure, the body of your loved one decomposes, becomes one with the earth, and maybe that’s it, nothing more. It’s like a flame getting extinguished, it didn’t know how it ignited and can’t point to the exact moment it snuffed out. Nobody knows what happens after we die. Do we become souls that find a home in other beings (crows?) or are we just reduced to manure? In a scene in Vikas Bahl’s latest offering Goodbye , Sunil Grover, playing a tech-savvy pandit, tells Amitabh Bachchan’s family the reason behind putting ashes in the Ganga. It is the mythical story of King Shantanu and his queen. How she took a vow from him before marriage: to not ask questions about whatever she does. How she bears a son and drowns him in the Ganga -- and seven after that-- to release them from the human cycle of life and death. “This is bullshit,” says Rashmika Mandanna, who plays Tara, the opinionated black sheep of the family, masking her grief in anger after her mother’s sudden death. “It is all because ashes have phosphate and it is good to mix it in the river, for better irrigation of crops.”

Director: Vikas Bahl

Cast: Amitabh Bachchan, Neena Gupta, Rashmika Mandanna, Pavail Gulati, Sunil Grover

In a later sequence, the pandit takes Tara into a corner and assures her that what she said was correct. “But your story is boring. Has no beginning, middle, or climax,” he says. “Your mother is gone now and all she has left you are her stories. What logic do you find in that?” Maybe that’s what we become after we die, memories for those who loved us, stories to be told to others.

Goodbye is the story of a family, dealing with the mother's demise. There is Amitabh Bachchan, the family patriarch, whose lips quiver when he is unable to sustain an argument. Pavail Gulati plays the dutiful, workaholic son, Karan, whose AirPods are plugged in even when he is taking his mother’s body to the crematorium. Elli AvrRam is Karan’s foreign wife Lisa, trying to be part of the family. There is also Sahil Mehta and Rashmika as Pavail’s siblings. The centre of all these diverse characters, like a bark holding the branches, is Neena Gupta’s Gayatri. Sample this scene when the family is sitting around the body, the night before the cremation. Gayatri, like a spirit or a memory, comes from inside and sits with them. Everybody is in their character. Pavail’s Karan is seated with his laptop, Rashmika’s Tara has a grumpy look on her face and Amitabh looks defeated. Gayatri looks at all of them, smiles and asks Karan, “Mr. Workaholic, got leave from your job?” To Tara: “I asked you to wish Karan on his wedding anniversary, did you do? Now you’ll have to remember wishing everyone.” Finally to Amitabh, “You didn’t get any better photo of me to put?” There is a smiling picture of her, at the head of the body, a glass of red wine in hand. “Remember how much I drank that night?” It is such a heartwarming scene that you can’t help but smile, while your eyes well up.

The film is laced with beautiful and nuanced scenes that take its viewers on an emotional roller-coaster. You cry and then laugh out loud, you smile in appreciation, and then feel like calling your loved ones. Even in grim situations, Vikas Bahl’s writing finds scenes that make you laugh while you hate yourself for giggling. There is a sequence where Ashish Vidyarthi, as the funeral know-it-all uncle (“Don’t teach me, I have done it a thousand times”) asks the family to change the direction in which the body is placed. The viewers gasp and chuckle as the family tries to determine where north and south lie while managing to hold the body in place. Dark humour at its finest.

It’s commendable how each character has a back story and is ably handled by the actors playing them. Rashmika as Tara shows defiance in the little gesture of removing her jacket when Amitabh looks at her. She speaks a lot through her eyes. Even the house help, just before leaving for cremation, rushes back and turns off all the switches and locks the pet dog “Stupid” inside. Such a minor scene conveys how much the family depends on her. Elli AvrRam is perfectly cast as the foreign wife. She steals the show in a scene where she realises, with teary eyes, that the Hindu meal doesn’t contain chicken. Amitabh as the piqued (read: ‘Pikued’), mumbling-under-his-breath father, is outstanding. In times like these, Sunil Grover as a holy man (“God is ours as we are his, how can he be upset with us?”) is so effortlessly charming, it should be illegal. And then there is Neena Gupta, spreading serenity in every frame she appears in, like a mother’s calming embrace.

What the film deftly handles is the subject of death. Everybody learns from it in their own, unique way. Some let go of their hair (and their ego) others their rigidity and stubbornness. But I guess one can never get over the loss of losing a loved one, especially a parent. You might learn to live with death. Pavail Gulati’s Karan, in a scene, mindlessly calls out for his mother after a golgappa vendor comes at the door. He keeps calling out for her and the truth sinks in with every ‘Maa’. Stop crying stupid, it’s just a film.

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Goodbye Review: Amitabh Bachchan, Rashmika Mandanna starrer touches a piece of your heart with a beautifully woven plot

Gretel Sequeira

• October 6, 2022
• Comments off

Goodbye Review: This funeral drama touches a piece of your heart with a beautifully woven plot

• Bubble Reviews
• Goodbye Review: Amitabh Bachch ...

Film : Goodbye

Director : Vikas Bahl

Star Cas t: Amitabh Bachchan, Neena Gupta, Rashmika Mandanna, Pavail Gulati, Sunil Grover, Sahil Mehta, Elli AvrRam.

Bollywood Bubble rating : 4/5 stars

Goodbye Movie Review 

That one last call, that one last hug, that one last meeting, we all want that last ‘Goodbye’ with our loved ones, before they leave this world for their humble abode. The movie Goodbye, directed and written by Vikas Bahl, is a perfect blend of that; an amalgamation of how a family processes through the death of a loved one and life after that. The beautifully woven plot, the well-executed screenplay not only keeps you engrossed throughout the movie but also leaves you in surprise with the fact of how the director-writer plays with your emotions, with a bout of humour. Why, I’d say that? You’ll know!

  View this post on Instagram   A post shared by Balaji Motion Pictures (@balajimotionpictures)

Ahead of the movie screening, the scene at the cinema hall was strangely chaotic. Everyone was waiting for the movie to start, friends meeting friends, colleagues interacting, so on and so forth. The movie is about to begin and everyone is in their seats. The first scene opens with Rashmika Mandanna (Tara Bhalla), playing a young girl, who according to her father Harish Bhalla (Amitabh Bachchan) enjoys to party whenever something calls for a celebration. She is constantly being pinged by her parents. However, she fails to receive any phone calls. In such a situation, the battery of her mobile phone also runs off. Cut to- The Next morning.

Tara Bhalla wakes up to the sound of the door bell. A bar waiter is at her doorstep, with her mobile phone, that she left at the bar. In a very expected turn of events, Tara gets a shocking news about home, as shown in the trailer. A heart-shattering news that she did not expect during early hours of the day. Her mother, Gayatri Bhalla (Neena Gupta) is no more. And, her father, Harish Bhalla (Amitabh Bachchan) has tried his best to contact his daughter throughout the night.

Here, Amitabh Bachchan plays the role of a father (Harish Bhalla) who is not so pleased with the modern-day lifestyle of his children. He is constantly at a war of words with them. While the family drama continues, the movie picks pace when Tara Bhalla travels her way back home.

And, Vikas Bahl’s funeral drama unfolds from there on. The theatre is in drop silence throughout the first half. When I say everyone, every person in the room was hooked on to the screen. And, one would only laugh at a funny scene. But, what added to the experience was the tears flowing in the room. When the interval kicked in, I walked through the crowd to step out and grab some popcorn. What surprisingly moved my heart was watching teary-eyed faces in a room full of strangers.

Despite Gayatri Bhalla not being a loved one, one could relate with the situation that every member of the Bhalla family was in. A sense of connection was easily built in the first half. And, the director made sure of that, with his perfectly entwined plot.

Believe me when I say this, the first half builds it so much for you, you are left wondering what’s next? Not only because Goodbye is a fresh, content-driven script, but also because, you are laughing, weeping, and experiencing all sorts of emotions. And, while my expectations went quite out of the window, wondering how the director would manage the second half, let me tell you, oh, he did it quite amazingly!

A funeral drama which highlights the situation that the Bhalla family undergoes after the sudden and untimely death of a very important family member, Gayatri Bhalla, a mother to four and wife to Harish Bhalla. The plot revolves around how her husband, Harish Bhalla tries to connect with their kids, who are living their separate lives, to inform them about the death of their mother.

Star Performances :

Amitabh Bachchan plays the role of Harish Bhalla, father of Rashmika, Pavail, Sahil and others. He is the husband of Gayatri Bhalla (Neena Gupta). Big B plays the stubborn father, who is constantly at a war of words with his children. Or either, he is taunting them about their way of living. Sr Bachchan slips into his role of Harish Bhalla quite effortlessly and keeps you connected with him. He brings forward every Indian father who is protective of his children, although they want to be independent, via his performance.

Rashmika Mandanna makes the right choice for her Bollywood movie debut with Goodbye. The film sees her playing the role of Tara Bhalla, a rebellious young girl, who is as stubborn as her father. She is on a constant quest of understanding the logic between everything. Be it the logic behind the traditions followed after the death of a person, or the immersion of the ashes in a river, Rashmika aka Tara tries to find the logic behind all. Mandanna delivers a stellar performance as Tara Bhalla, a lawyer by profession. And, her performance as Tara is convincible. But, I watched Sita Ramam, her previous Telugu movie and found her playing a similar role of such, a rebelious character, questioning the rights and wrongs.

Neena Gupta plays Gayatri Bhalla. One can say her character acts like ‘glue’ that keeps every character connected with each other. She is an important element in the movie and nothing would have seemed that great without Gupta’s awesomeness. Neena Gupta is the breath of fresh air in the movie in all the beautiful and sad moments of her with her family.

Pavail Gulati essays the role of Karan Bhalla, the older, scholar son, an NRI, married to a foreigner, Elli AvrRam (Daisy). Gulati enacts his character well as the ignorant son, who is more focused on ‘earning money’ and ‘wrapping up’ his mother’s funeral rituals. Elli AvrRam aka Daisy is the sweet foreigner Bahu and she is just that! Elli manages to grab your attention with her innocence and antics. Be it when she is completely unaware about how one dons only white and not black at a funeral, or how a Hindu meal comes without the Chicken.

Ashish Vidyarthi, the know it all uncle and Sunil Grover aka Panditji are two characters in the movie that add the humour and sense element. While Ashish Vidyarthi brings humour in the first half, Sunil Grover quite effortlessly impresses with his spirituality in the second half.  Shivin Narang, and Abhishekh Khan in their roles do not miss to shine.

Direction/Screenplay:

The first half of the film builds the funeral scene at every household. Here, the director shows his creativity by adding humour to a situation of such. He perfectly executes minute situations circling around the neighbors who visit the home, after a member of the family has passed away. One starts relating to the scenes when there is one person, who is the know it all in terms of customs or traditions, solely because “ Maine yeh bohot baar kiya hai (Have attended many funerals) .”

Not just that, we also have the ‘pados wali chachi group’ or as they may fondly call them ‘Gayatri ki Bubbliyaan’. The director manages to add humour to a sad and emotional situation, with moments like the group of women ‘chachi’s’ are so wasted that all they think about is ‘How to create a group to remember Gayatri Bhalla after her passing’. They also come with funny WhatsApp group names like ‘Harish Needs Us’ and ‘Gone Gayatri Gone’; heights of stupidity we would say. But, Bahl smartly gives a glimpse of the scene in every household that lost a loved one.

The screenplay has a few key elements well executed by Bahl. In one scene, Amitabh Bachchan handling the preparations for his wife’s funeral, forgets he’s wearing his chappals or Pavail calling out to ‘Mumma’, later to find out she is no more, breaks your heart.

The director of Photography, Sudhakar Reddy Yakkanti, with Bahl, brings out his best in the scene with Sr Bachchan. The actor is crying inconsolably, while immersing the ashes of  his loved one. The boogey running down his nose is so beautifully captured that you feel disgusted for a second, but when as you understand his emotion; it kills you there!

Amit Trivedi does a good job with the music of Goodbye. The hard base and the soul touching melody with Swanand Kirkire’s lyrics strikes an emotional chord. The songs do not create a disturbance in the movie, despite it being a funeral drama, but instead make the movie meatier.

Conclusion: 

The Amitabh Bachchan and Rashmika Mandanna funeral drama is a heartwarming piece of art and it leaves you with a warm and fuzzy feeling. While you are glued on to your seat, the plot is gripping, relatable and heart-winning in every way, for someone who has lost a loved one. Goodbye has its loopholes but it intends to leave you with a warm feeling.

Watch the trailer of Goodbye below after the movie review:

Also Read : Amitabh Bachchan, Rashmika Mandanna strike an emotional chord with Goodbye song Jaikal Mahakal

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Goodbye Movie Review: Don't forget to bring tissues for Amitabh Bachchan-Rashmika Mandanna's film

Take a quick loo break if you can't cry in public because goodbye is loaded with heartbreaking moments. keep the tissues handy before watching this one, says our review..

Listen to Story

• Goodbye releases in the theatres on October 7.
• The film stars Amitabh Bachchan and Rashmika Mandanna among others.
• It is written and directed by Vikas Bahl.

Can anyone predict life? We will never know when's the last time we will see or talk to our parents. There's a line in Life of Pi which perfectly forms the crux of Goodbye. In the film, Irrfan says, “I suppose in the end, the whole of life becomes an act of letting go, but what always hurts the most is not taking a moment to say goodbye.”

When Gayatri (Neena Gupta) dies suddenly, her husband Harish (Amitabh Bachchan) and her four adult children react in different ways. What follows later is different feelings each member of the family undergoes. Along with them, director Vikas Bahl manages to make you feel those heartbreaking moments too, that will definitely leave you in tears.

Goodbye starts with Tara (Rashmika Mandanna) partying at a club as she celebrates her first career milestone with friends. She gets a call from her mom in between, but she disconnects that. She even ignores her texts. How often have we all been guilty of it too? In between this, Tara misses her father Harish’s phone calls. She wakes up to discover that those calls were made to inform her of her mother Gayatri’s (Neena Gupta) death. What follows later forms the whole story.

Vikas Bahl's Goodbye questions the old and new beliefs. 'Just follow what is being told,' says Big B in the film, while Tara lashes out at the funeral ceremonies, describing them as meaningless. When Gayatri dies, the pandit of the house makes her body shuffle several times so that her head is facing the north side. He also declares that her soul has entered a crow, and blatantly mentions thousands of 'riti riwaz'. This conflict between religion and science is well established here. There are also several funny moments - for example, the ladies in the house fake-crying while trying to think of a name for their new WhatsApp group (Lonely Harish is what they come up with). But the motive is to make you cry.

We have watched several Bollywood films that deal with the loss of loved ones. However, Vikas Bahl's film brings something new to the table. Three cheers to his writing and direction. He perfectly portrays this borderline dysfunctional family who are dealing with the loss of that one person who held them all together. Goodbye has a tsunami of emotions and nostalgia that can't be described, but will hit you hard. A particular scene shows one of Gayatri's sons calling out 'mama, mama' because he forgets she is no more. Goodbye doesn't just focus on Gayatri's death, but how life will continue for the grieving family.

Goodbye has its share of flaws, but that can be overlooked. At times, the execution struggles to establish a tone. The film shuttles between moods that can sometimes look like messy. It oscillates between emotional moments and something totally random.

The star of the film is Amitabh Bachchan, of course. Even at 80, the megastar proves why he is one of the biggest superstars of Indian cinema. From preparing for the funeral to finally getting a moment to talk to his wife's ashes, his role transforms, and your heart will break in both these moments. Rashmika Mandanna struggles with the accent as she sounds too south for a Punjabi role. However, she gets her character right. Even though we hardly see Neena Gupta, she fills the screen space with her presence. She has a certain warmth around her. Everyone else, including Pavail Gulati, Sahil Mehta, Elli Avram, Ashish Vidyarthi, Abhishekh Khan played their parts well. Sunil Grover's cameo as a pandit is also worth mentioning.

Our verdict? Goodbye is filled with heartwarming and heartbreaking moments. The unfiltered emotions in the film touch the right chord and even bring you closer to your loved ones. If you have lost someone dear recently, be prepared to shed some tears. You would understand why we use the word 'emotions' so many times when you watch Goodbye. Vikas Bahl will leave you with many questions as you exit the theatres.

3.5 stars out of 5 for Goodbye. Published By: Grace Cyril Published On: Oct 7, 2022 --- ENDS --- ALSO READ I | Rashmika Mandanna says I am not as mean as Tara in Goodbye | Exclusive

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Home » Movies » Bollywood Movie Reviews

Goodbye Movie Review: Amitabh Bachchan, Rashmika Mandanna Starrer Gives A Long, Warm Hug To Everyone Who Has Lost Someone!

Goodbye is a movie that does what it intends to regardless of the flaws that get overshadowed by emotions..

Star Cast: Amitabh Bachchan, Neena Gupta, Rashmika Mandanna, Pavail Gulati, Ashish Vidyarthi, Abhishekh Khan & ensemble.

Director: Vikas Bahl.

What’s Good: A story so personal that each one will relate to it. It’s a reminder of the pain you brushed under the carpet or the pain that you fear facing someday.

What’s Bad: The hygiene between humour and emotions in parts is missing which doesn’t blend the two very well.

Loo Break: If you feel the emotions to the core and can’t cry in public.

Watch or Not?: Watch, because even with the flaws Vikas Bahl brings unfiltered emotions and they touch the correct chord.

Language: Hindi (with subtitles).

Available on: In Theatres Near You.

Runtime: 146 Minutes.

A nuclear family with parents and four children is scattered in different parts of the world. The mother suddenly passes away and now the entire camp needs to come under one roof to see her off one last time. The stories unfold, dynamics are put to test and the way to grieve loss is explored.

Goodbye Movie Review: Script Analysis

Hindi cinema in the past two years with films like Ramprasad Ki Tehrvi , Pagglait, and a couple more have explored the idea of how one should deal with the biggest fear of life, someone close to you passing away. What circus it leads to, and do we really need to do the things we are conditioned to for ages now? Vikas Bahl with his writing brings another addition, a bit more contemporary to the table, and before anything else lets someone question his idea, he hits them with ultimate emotions. It’s a good thing, at least for him.

Written by Vikas, Goodbye is about a family that is dealing with the loss of the matriarch, and one who was the glue for this family that is borderline dysfunctional, but still together. So when these characters meet and talk to each other without any connection as compared to the blissful flashbacks, Bahl makes it very clear that he wants a tsunami of emotions and nostalgia to hit his viewers because that is how his story will sail. By opening the film to the tragedy and then slowly going back in time to make you meet what’s lacking between the characters until now, he connects the audience to his cinema. And as soon as the first glimpse of Neena Gupta fills the void, you as an audience have already shed at least a few tears.

Bear me if I use the word ‘emotion’ way too many times, but that is the one-word power that Goodbye thrives upon. The clear idea is to make you see the world without a mother figure and that could be subjective for everyone, but the bond and its absence remain the same. Vikas even beautifully succeeds in doing so. Because he isn’t only focusing on what’s gone, but even how life without her looks and will continue to in the future.

In his urge to create real people and conflicts he even adds humour to the script and majority of which is situational. But he also realises that his motive is to make people cry, so he also doesn’t invest much time in leading to the cremation. And dare you to hold back those tears, because even with some flaws, the feeling of a void we all are afraid of pierces our hearts and shatters it. Even a lifeless Neena Gupta lying on a block of ice is enough to make you feel all sad, and add to it she brings the most warmth as the story goes into flashbacks.

The idea about how one must grieve and who decides is explored quite well. A father who is angry with everything around him because he lost his anger, a son who makes him realise it isn’t just him who has lost someone, a daughter who has differences with the said father and now has to go through the conditioned rituals so that her mother achieves salvation. Everything lands home.

Not that the movie is as flawless as Bahl’s Queen which is another example of how well he knows to handle emotions. (We don’t talk about Shaandaar here). But Goodbye in parts lacks in the transition prowess. Mainly in the scenes between humour and emotional turn, it feels abrupt and you can feel the bump. The bump can also be felt when a new scene begins. Mostly because of the aforementioned transition, but also when Vikas decides to open them with some unlikely notes. Like when the father catches his son having s*x the night of his mother’s cremation and there is a reasoning to it, full marks for highlighting the modern-day problem, but how it begins is a bit weird.

Goodbye Movie Review: Star Performance

Amitabh Bachchan as an actor is evolving even at the age of 80 and with the megastar status only makes me respect him more with each passing day. He as the father of this camp has to be strong. Especially in two scenes where he is preparing for the funeral with no space to grieve and another where he finally gets a moment so talks to his wife’s ashes, my heart broke in each of them. You see the actor not taking his status for granted and my goodness he makes you feel every single emotion he enacts. Be it his dilemma, insecurities, anger, love, everything.

Neena Gupta is what we are exploring as the film happens. She is the epitome of everything good in one’s life and so cute that you cannot imagine someone like her lying on a pyre. There is warmth in her performance and every time she gets to romance Big B, she lives her dream to be the heroine that she forever deserved to be.

Rashmika Mandanna gives an earnest performance and it is a tough place to be because she shares the most screen time with Bachchan. The actor cries convincingly and you are invested in Tara because most of the conflict is around her. With a lot of responsibility, the actor walks the path pretty well. Full marks to the makers for letting her dub her own lines. But everytime someone points out the family is Punjabi and Tara is the real child and not adopted, the accent does bother a bit.

Everyone else including Pavail Gulati, Sahil Mehta, Elli Avram, Ashish Vidyarthi, Abhishekh Khan play their parts with conviction and belief. Sunil Grover in a cameo does impress. Think of him as Vikas Bahl explaining you what his film is exactly about without becoming very preachy. The idea works because he makes it very smooth and likeable. He says what are we but stories and that does work right.

Goodbye Movie Review: Direction, Music

Vikas Bahl understands his audience and caters what’s needed. I have a critical gaze, but a normal viewer will walk past the flaws to feel the story and come out crying.

There are obvious story loopholes that could have been rectified in the screen translation. Like Mudassar saying I will come to the funeral you go ahead to Tara and landing there the next morning makes no sense. Or Nakul’s storyline is so fast-paced and then he gets down from a train to charge in phone while we all know that particular train does have electric sockets.

Amit Trivedi after a long time brings an album that wins hearts. Of course, Jaikal Mahakal and Chann Pardesi are winners, there are a few more good ones and you must listen.

Goodbye Movie Review: The Last Word

Goodbye is a movie that does what it intends to regardless of the flaws that get overshadowed by emotions. It is also an art if you observe. If you can ignore them too, go for it and feel the pain of losing and the way to mend your heart.

Goodbye Trailer

Goodbye releases on 07 October, 2022.

Share with us your experience of watching Goodbye.

For more recommendations, read our Jogi Movie Review here.

Must Read: Chup Movie Review: R. Balki’s Love Letter To Cinema & Guru Dutt Is A Winsome Wild Idea With A Lot Of Merits

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Goodbye movie review: Amitabh Bachchan, Rashmika Mandanna starrer tugs at your heartstrings with a story that clicks

Updated Oct 7, 2022, 04:23 PM IST

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Goodbye review: Amitabh Bachchan and Rashmika Mandanna can't save insensitive family drama

Goodbye review: talk of performances, amitabh bachchan takes the cake for his sheer sincerity, conviction and blending emotions so well in each scene. rashmika, in her debut hindi outing is decent and that's about it..

Cast: Amitabh Bachchan, Rashmika Mandanna, Neena Gupta, Pavail Gulati, Sahil Mehra, Elli AvrRam

Director: Vikas Bahl

The matriarch of a family, Gayatri Bhalla (Neena Gupta) has suddenly died. As Gayatri's family and husband Harish Bhalla ( Amitabh Bachchan ) wait for their turn at the cremation ground, her neighbourhood ladies are busy thinking what to name the WhatsApp group they're making in the memory of the deceased. 'Gone Gayatri Gone, Lonely Harish ji, Harish ji needs us' are some of the suggestions said out loud before they reach a consensus to call it 'Chandigarh Bubblies'. Why? Because Gayatri called the group by this name and her memories should live on. Wait. There's more. The so-called group of friends pose for a smiling selfie, after all a new WhatsApp group calls for a new profile picture. Well, this is just 0.1% of the insensitivity and absurdity writer-director Vikas Bahl throws at us in this emotional rollercoaster of a funeral drama called Goodbye. Pardon me for saying funeral and drama in the same breath. But as you watch the story unfold in Goodbye, it really is a confused tale wanting to say so much but is so stuck in its flaws that it never rises beyond a funeral. (Also Read | Goodbye song Jaikal Mahakal: Amitabh Bachchan, Rashmika Mandanna are heartbroken )

In fact, for the entire first half, I kept asking myself, what is it that Bahl is trying to show though his story and characters? Is Goodbye the story of a grief-stricken dysfunctional family? Or a rebel daughter who refuses to believe in the outdated and orthodox rituals and traditions. Is it a story about four siblings who are settled in different parts of the world and come together to say the last goodbye to their dead mother? Or a dilemma between faith and science. Is it a satire on the death rituals that are prevalent in the society? Or fake tear-shedding relatives. The last two aspects have been beautifully shown in last year's films Ram Prasad ki Tehrvi and Pagglait and those, I must say, served a good benchmark. Unfortunately, Goodbye just doesn't leave that impact or doesn't even get close to it.

Soon after the news of Gayatri's death reaches her children, they all make their way back home in Chandigarh. Tara ( Rashmika Mandanna ), a lawyer who's won her first case, is drowned in guilt for not taking her mother's last call or replying to her message. Karan (Pavail Gulati) flies down from US with spouse Daisy (Elli AvrRam) who orders a ‘hindu’ meal because she 'loves the spicy Indian chicken'. Karan is a workoholic who can't do without his laptop and ear pods even while he's giving a shoulder to his dead mother's body. Angad (Sahil Mehta) is Gayatri's favourite and while taking a flight from Dubai, he doesn't miss ordering butter chicken and butter galic naan during his hotel layover, before his father takes him on a guilt trip over a call, for indulging in party food while he has lost his mother. Angad does order khichdi afterwards! There's another son, Nakul (Abhishekh Khan), who is out on a trekking expedition and realises about this loss much later than the rest of the family.

Amid all this, Harish, his Labrador named 'Stupid' and a house help are busy discussing the chores to be performed on Gayatri's funeral and last rites. Goodbye is a comedy-drama at its core but somehow things don't add up each time a joke is made while showing death and grief. For instance, Harish blindly follows his friend PP's (Ashish Vidyarthi) instructions and lets Gayatri's body be moved here and there to be kept in a particular direction. The comedy around the deceased often comes across in bad taste and atrocious.

There are several emotionally moving and heart-warming scenes in Goodbye, making you tear up every now and then, but the screenplay doesn't let you remain engrossed in them for too long as the misplaced humour chimes in way too often than needed. And mind you, it's not even clever comedy that will trigger laugh. Indeed, it's not a cakewalk to show a sensitive loss like death and infuse humour in it. But instead of being subtle, Goodbye does it a bit too in your face.

Picture this: Angad and Daisy have an unapologetic 'sambhog' after cremating their mother. When the father asks, he says, 'We are doing this for mom. She wanted grandkids.' Don't know if Bahl was trying to give any message here or be plain bizarre.

Talk of performances, Amitabh Bachchan takes the cake for his sheer sincerity, conviction and blending emotions so well in each scene. Rashmika, in her debut Hindi outing is decent and that's about it. Her dialogue delivery doesn't seem forced though her expressions could have been way better in varied situations. Pavail, Sahil and Elli are good in their parts and do justice to the screentime they get. Neena Gupta lights up the screen each time she appears in flashback sequences. Her chemistry with Amitabh Bachchan is endearing. There's also Sunil Grover as the priest who performs last rites. He lifts the storyline from a boring and super dragged first half to a somewhat interesting beginning to the second half. It's interesting to see how he becomes the force to make Tara believe in faith over science.

Goodbye is loaded with emotions but they don't linger on for too long. It's the comedy that takes over the major part and flaws become too evident to overlook. Still, watch it for a slice of life drama.

• Amitabh Bachchan
• Rashmika Mandanna
• Neena Gupta
• Pavail Gulati
• Elli Avrram

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Goodbye Review: Rashmika Mandanna Gives Patchy Funeral Drama Rare Brighter Moments

Goodbye review: the performances, despite amitabh bachchan headlining the cast, are rudimentary. the writing is inconsistent and aimed at the easily swayed..

A still from Goodbye trailer. (courtesy: BalajiMotionPictures )

Cast: Amitabh Bachchan, Rashmika Mandanna, Neena Gupta, Ashish Vidyarthi

Director: Vikas Bahl

Rating: 2 stars (out of 5)

Depiction of loss and grief on the big screen can strike a chord only if the emotions at the film's heart are conveyed with genuine empathy and delineated with the requisite subtlety. In Goodbye , written and directed by Vikas Bahl, none of what could make it work over and beyond the surface level is allowed much space.

Goodbye will make you shed copious tears all right but leave you none the wiser about the act of processing of pain and tiding over it. The performances, despite Amitabh Bachchan headlining the cast, are rudimentary. The writing, while achieving an occasional sharp twinge, is inconsistent and aimed at the easily swayed.

The patchy funeral drama has a suitably sombre premise, but the broad-brush treatment of the plight of a Chandigarh family coping with the untimely death of a matriarch - the film revolves around the woman's last rites stretching from the preparations for the cremation to the tehrvi , the 13th day of mourning - gives authenticity no chance.

Sluggish, insubstantial and meandering, Goodbye never acquires the sort of gravitas one would expect from a film that wants to pass itself off as a mature, sensitive exploration of sorrow and its manifestations. The wherewithal to fully measure up to that expectation eludes it. What is worse, some parts of the film only seem to trivialise the act of grieving and remembering.

Goodbye alternates between the morose and the mirthful. The latter component is provided primarily by a bunch of ladies from the neighbourhood who put on a brazenly fake show of sympathy for the bereaved. They fret far more over grabbing a comfortable chair, clicking a selfie or deciding on a name for a WhatsApp group. It is difficult to miss the hint of sexism here.

Goodbye opens with a disco number that goes 'Hic hic hic' and has a tipsy Tara Bhalla (Rashmika Mandanna) dancing without a care in the world. A budding lawyer in Mumbai, she has just won her first case. The next morning, as she wakes up all groggy, Tara realises that she has missed a series of calls from her dad Harish Bhalla (Amitabh Bachchan). The old man has bad tidings to convey: Tara's mother Gayatri (Neena Gupta) is no more.

Tara has not seen eye to eye with her father for quite a while but she takes the first flight to Chandigarh to be by his side even as they continue to spar over little disagreements. As preparations get underway for the cremation, a stuck-up family friend P.P. Singh (Ashish Vidyarthi), a self-appointed guardian of tradition, barks instructions to all and sundry about rules and rituals.

Two of Tara's brothers, including the married Los Angeles resident Karan (Pavail Gulati), are duly informed of the demise of their mother. They struggle to make their way back home from two different parts of the world. Karan arrives with his American wife, Daisy (Elli Avram), whose ignorance about what clothes to wear to a Hindu funeral causes some comic consternation. She is a quick learner but, continuing the film's belief that women need schooling, never ceases to be a butt of ridicule.

A third brother is incommunicado. The audience is merely told about his existence but not about his whereabouts. We spend almost the entire length of the two-and-a-half-hour film wondering when this missing guy is going to show up and reinvigorate the funereal air that the film unsuccessfully seeks to sustain in a severely faltering second half.

The young man surfaces when he isn't exactly needed anymore - the departed lady's ashes have already been scattered in the Ganga and the family is back home for the tehrvi - but the film milks the guy's delayed appearance to the last ounce.

Goodbye aspires to be a modern and rational film about a family coming to terms with the death of a dear one. So, it creates room for a young rebellious girl who pooh-poohs elaborate rituals and keeps harping on the fact that this simply isn't the kind of final send-off that her free-spirited mother would have wanted.

Tara is a non-conformist in an orthodox family. Her boyfriend in Mumbai, where she works, is a guy called Mudassar. He accompanies her to Chandigarh for the funeral and serves as one of the four pall-bearers. A few eyebrows are raised but, with P.P. Singh holding his horses, all goes well. That apart, the Bhallas have a young maid who they treat like a family member. One begins to admire the film because Tara appears to having her way.

Sadly, courage deserts Goodbye in the second half. The family embarks on a journey to Rishikesh with Gayatri Bhalla's ashes. There, they engage a chatty panditji (Sunil Grover) to preside over the ceremony. He spouts homilies about the centrality of religious rituals in life and death.

Tara registers her protest but she does so without the vehemence you expect from a girl with her own ideas about what constitutes the act of grieving for a lost one. Everything that you do not understand is not necessarily false, the cheerful priest says to Tara. He also tells her that she should celebrate the stories and memories that Gayatri has left for her.

If that sounds perfectly logical on the face of it, the priest's pronouncements become a pretext for Goodbye to peddle a whole lot of conservative claptrap and allow emotions to be drowned in cloying sentimentality. Amitabh Bachchan's character delivers a soliloquy to the urn that contains his wife's ashes and enumerates all the acts of omission that he was guilty of when she was around in flesh and blood.

It is always easy to move audiences to tears with a story of bereavement designed to make the most of the cliches of the genre. But this is a film in which the only truly forlorn character is the family pet, a Golden Retriever named Stupid, who hangs around the portrait of the woman who brought him home as a puppy. The human characters around the canine are too erratically and laboriously fleshed out to be unswervingly effective.

The aforementioned garlanded photograph does a disappearing act when the departed woman's third son arrives late in the film, blissfully unaware that she has passed on. But that is not as difficult to digest as a CGI crow that appears on the terrace and is believed to be embodying the soul of the dead as its awaits her passage to heaven.

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Goodbye is mounted as a platform for Amitabh Bachchan. He does everything that is expected of him. Rashmika Mandanna holds her own amid the runaway mawkishness, giving the film its rare brighter moments. If only the character she plays was allowed to hold her ground and go to the extent of getting her dad and brothers to support her faith in rationalism, she would have lent Goodbye some much-wanted heft. Neena Gupta, whose character is dead at the outset of the film and who appears only in flashbacks, serves to liven up the proceedings. One wishes there was more of her.

Goodbye is crafted to deliver an unabashed workout for the lachrymal glands. Its grievously shallow methods undermine its avowed purpose.

Amitabh Bachchan, Rashmika Mandanna, Neena Gupta, Ashish Vidyarthi

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Goodbye Movie Review: Amitabh Bachchan, Rashmika Mandanna Starrer Is An Average Slice-Of-Life Family Drama

Amitach bachchan, rashmika mandanna starrer 'goodbye' has its moments in parts but in its entirety is a poorly patched story with only genuine emotion by its performers that redeem the film..

Amitabh Bachchan Neena Gupta Rashmika Mandanna Pavail Gulati Sunil Grover

New Delhi: 'GoodBye' is an average slice-of-life family drama starring Amitabh Bachchan, Neena Gupta, Rashmika Mandanna, Pavail Gulati and Ashish Vidyarthi among others. The Vikas Bahl directorial has its moments in parts but in its entirety is a poorly patched story with only genuine emotion by its performers that redeem the film.

'GoodBye' opens with the most cringe opening sequence song, so forcefully put into the beginning that it does reduce the audience's expectation of what is to follow. Thankfully, the film gets better the next morning when Rashmika's character( Tara Bhalla) receives a call from her father( Harish Bhalla, portrayed by Amitabh Bachchan) that her mother( Neena Gupta as Gayatri) has passed away. Everything else that ensues is what forms the crux of 'GoodBye'.

Perhaps, a slightly awkward subject to deal with, death and life as we know it post-pandemic; the confusion of portraying the same in modern times riddles 'GoodBye'.

There are parts where the hypocrisy of the 'death' system and the rituals which go in traditional households are satirically exposed. In other parts, a modern pujari like character in the form of Sunil Grover enters the film to justify rituals which are performed for the 'moksha' of a departing soul and mixes logic to elevate the film's premise.

'GoodBye' explores the minutest of details associated with 'death' in households and sometimes delves into them to an extent that you forget that this is a feature film. Makers get lost in their material but thanks to the performances of its leading cast, most cringe moments are saved from becoming a moral lesson on 'generation gap'.

Without ridiculing the premise of the ambition of 'GoodBye' to perhaps bring a sense of self-examination on how we deal with death in a family today, the movie is more so about the generation gap between parents and their children.

And, this is exploited through interlacing shots, one liners, memories in retrospect etc.

Vikas Bahl also tries to experiment with the form of the 'GoodBye' through an animated love story of yesteryear playing out between a young and dashing Amitabh Bachchan from the 70s and Neena Gupta. For instance; this entire sequence happens through a photo album which in turn reunites a sulking-angry father with a stubborn-angry daughter.

In another part, there is a scene where Sunil Grover is bringing the Hindu mythology story of King Shantanu through animation to bring home the fact why ashes of the dead are dispersed in Ganga after people die. Here, Sunil Grover's character gets to voice the best of lines, something that might evoke a sense of nostalgia in audiences with 'kahanyian hi to duniya chalati hai' etc.

Many such dialogues and one-liners in the film work as eye-openers and moments which initiate Tara( Rashmika) into a more tolerant person, a coming-of-age side arch in the film of her character.

The background score of 'GoodBye' is another cringe element that reduces the intensity of emotions the actors in the film are trying so hard to bring forth. 'Mai Re' for example being played everytime every single character thinks of their dead mother is way too much a test on patience.

As for performances, Amitabh Bachchan is superb in portraying a disgruntled father undergoing abandonment anxiety. He also gets to flex years of acting experience when he talks to an urn of his dead wife's ashes.

Rashmika Mandanna portrays her parts well and lends the necessary emotive depth to 'GoodBye'. Her effort in mouthing dialogues in Hindi shows, but her performance overpowers this.

Pavail Gulati, Ashish Vidyarthi, Sahil Mehta, Shivin Narang, Abhishekh Khan, Elli AvrRam, all try to add layers to the film as do Neena Gupta and Sunil Grover who get slightly better character sketches.

What doesn't work in 'GoodBye' is the length and the screenplay. The film is a disjointed array of sequences and scenes, some of which shine, some of which are typical and cringe, and some totally unnecessary. Why would a film like 'GoodBye' need a party song as the opening sequence song when there is one around it's credits?

Long silences, pauses and extra moments to focus on close up shots of Rashmika's character feel overstayed. The need to add comedy and drama through actors like Sunil Grover and Ashish Vidyarthi, love between two adopted children; there is so much going in this family ensemble that the director tries hard to give a closure to the film somehow.

So much is the effort to give direction to the film that by the time post-interval film began, you are left wondering, what and where on earth is it going? What more is to be shown that hasn't been put across already?

Yet, Vikas Bahl does manage to surprise with a few elements like the animated romance mentioned before, but nothing more than that.

All one is left thinking is when is 'GoodBye' going to end and why the need to connect all dots and give answers to everything? Sometimes, filmmakers should trust the intelligence of their audience and leave something for them to take away from a piece of art rather than spoon feed catharsis to an extent that we walk away as empty-headed and unaffected as the time one walks into the theatre to watch a film.

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Goodbye Movie Review: Despite the performances GOODBYE suffers from a weak second half and depressive tone.

Despite the touching moments and performances, goodbye suffers due to a weak second half and depressive tone, goodbye review {2.5/5} & review rating.

Goodbye is the story of a dysfunctional family. Tara ( Rashmika Mandanna ) is a lawyer who lives in with her boyfriend Mudassar (Shivan Narang). She wins her first case and hence goes out to party. Her mother Gayatri ( Neena Gupta ) calls and messages but Tara ignores it. The next day, her father Harish ( Amitabh Bachchan ) calls and that's when she learns that Gayatri has passed away. She rushes to her hometown, Chandigarh to be with Harish. Harish has three more children - Karan (Pavail Gulati), Nakul and an adopted son, Angad. All of them are away. Karan and Angad also book the first available flight to Chandigarh. Nakul, meanwhile, is unreachable. Tara is the first one to reach. She and Harish don’t see eye to eye and both clash over the funeral ceremonies. Harish also gets upset with Karan and Angad as he feels that they don't seem moved by their mother's demise. Harish's behaviour leads to fights in the house. But all of them have no choice. They have to stay together under one roof for a few days. What happens next forms the rest of the film.

Vikas Bahl's story is relatable and well-intentioned. Most of us will be able to relate to certain goings-on and moments. Vikas Bahl's screenplay, however, is not well fleshed out. While it’s strong in the first half, the writing goes haywire in the second half. The dialogues are witty and save certain scenes too.

Vikas Bahl's direction is average. This is more in the zone of his acclaimed film QUEEN as GOODBYE is also a slice-of-life film about a character who gets invaluable life lessons after going through a hellish experience. The first half will leave viewers teary-eyed. The comedy is well-infused into the narrative and doesn’t seem out of place. The tracks of the neighbourhood aunties and P P Singh (Ashish Vidyarthi) are funny. They are very relatable as we have all come across such people at funerals. The scene where the family members imagine Gayatri is talking to them is sweet and well edited. The Haridwar track in the second half, involving Pandit ji (Sunil Grover) is also entertaining.

From here on, things happen at random. A few aspects are forced. The animation flashback of Amitabh Bachchan and Neena Gupta is cute and stands out individually. But it’s wrongly placed and ideally should have come at some other point in the movie. Many developments will leave viewers scratching their heads. Tara constantly complains that her mother didn’t believe in blind faith. However, this and Gayatri’s love for the ukulele never gets established in the flashback portions. The track of Nakul is the biggest problem in the film. The makers fail to establish that Harish and Gayatri had three sons. In fact, except at two places, no one in the film is wondering where Nakul is and why hasn’t he made it to the funeral of his own mother! Even the tracks of the other children are not easy to digest. One can still understand Harish was angry with Tara. But his objection to Karan and Angad fails to make sense. They seem to be the bad sons just for the heck of it. One also will be bewildered as to why Angad is having a feast when he is genuinely sad over his mother’s sudden death. Moreover, Angad’s love affair with the maid has no relevance to the principal plot and viewers will truly wonder why the makers have added these bits without any rhyme or reason.

Goodbye – Official Trailer | Amitabh Bachchan, Rashmika Mandanna, Neena Gupta

Amitabh Bachchan, as always, gives his best and delivers a bravura performance. The way he brings out the sadness and anger over the situation is beautifully portrayed. Rashmika Mandanna has a fine screen presence. Her acting is a bit off in a few places but otherwise, it’s a fine job by the actress in her first Hindi film. Neena Gupta is adorable. Sunil Grover has a cameo but is very entertaining. Pavail Gulati and Sahil Mehta are decent. Ashish Vidyarthi is too good. Elli AvrRam (Daisy) is fair. Shivan Narang gets no scope. The actors playing the role of Nakul, the maid and the neighbourhood aunties are fine.

Amit Trivedi's music is well woven into the film. 'Jaikal Mahakal', 'Chann Pardesi' and 'Maaye' are quite touching. 'The Hic Song' is peppy. 'Kanni Re Kanni' is well-tuned but comes at a wrong point. 'Happy Birthday' and 'Beautiful' are forgettable. Amit Trivedi's background score is better.

Sudhakar Reddy Yakkanti's cinematography is neat and uncomplicated. Amit Ray and Subrata Chakraborty's production design is a bit unrealistic but works. Akangshee Chopra's costumes are straight out of life. Famulus Media and Entertainment's VFX is fine. A Sreekar Prasad's editing is great.

On the whole, GOODBYE works due to the touching moments, relatability factor, and performances. However, the film suffers due to the bizarre developments, weak second half, and depressive tone. At the box office, it will turn out to be an average fare.

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Good Goodbye

Andie Chen Aster Yeow Ee Shane Pow Julie Tan Ser Lee Teo Shi Bin Yang Tosh Zhang

An anthology of three stories which carries a message that transcends the limitations of time and illness, emphasizing the significance of love, the pursuit of dreams, and the beauty of letting go.

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Space: The Longest Goodbye – Review

Space: The Longest Goodbye – Review. By Richard Schertzer.

What is outer space? Vast, open and infinite. There is so much out there in the open beyond that of our own Earth. It’s a vast topic noted in a superb documentary done properly that expands beyond the cultural norms of traditional documentary filmmaking. 

The film goes over some astronauts that are launched into outer space in preparation for NASA attempting to send people to the planet Mars for the very first time. It’s important to note that while these people are in space, they will have limited time to talk to their families and loved ones which will lead to some loneliness and isolation during the trip. 

The film has a certain awe about it that is truly magnificent to look at and adore. Seeing a documentary film with this much ambition is such a pure delight that it seems too good for words.

The film is so eloquently shot that it uses its natural and traditional storytelling techniques to bring an incredible story not only to life but also out of this world, where the filmmakers pride themselves on journeying to the heart of each character and their families to make the audience care about their plight.

It’s already stressful being an astronaut and making this movie is certainly no exception. The director manages to create a world outside of our own and does it with incredible style and emotion. 

In conclusion, this film is what happens when you have heart, intelligence and a lot of ambition riding behind the camera and in front of it. 

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Is This the End of ‘Bluey’?

By Alan Sepinwall

Alan Sepinwall

In the early days of the Covid lockdown, you heard a lot about people taking up new hobbies: making sourdough bread, learning to knit, mastering Peloton — whatever it took to stay occupied and relatively sane while stuck in our own homes, isolated from the rest of the world.

In my household, nobody studied a foreign language or alphabetized their bookshelves. Instead, Bluey became our sourdough starter. And we clearly weren’t the only ones who found comfort in deeply uncomfortable times from this cartoon, aimed at preschoolers, about a family of anthropomorphized dogs.

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The irony of the massive line of Bluey toys, clothes, and more is that the series is first and foremost about the power and importance of imaginary play. Bluey and Bingo have lots of toys, but their favorite activity is slipping into character for various invented games with their father, Bandit, and their mother, Chilli. The girls, for instance, love to pretend to be a couple of irascible grannies, usually causing trouble for the people around them, but occasionally proving helpful. In one of the show’s best episodes, “Bus,” they harass and annoy Bandit’s harried bus driver, but then pitch in to play matchmaker between him and Chilli’s shy, lovestruck passenger. In another instant classic, “Rug Island,” the girls use a surplus of felt-tip pens and a play mat to create their own island paradise, a world so intoxicating that even Bandit can’t resist begging off of work to stay there with them. 

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Brumm and the writers turn the seven-minute episodes into either precision-timed laugh delivery machines, or unstoppable tearjerkers. “Sleepytime,” where Bingo attempts to sleep on her own for the whole night, or “Camping,” where Bluey befriends a French-speaking dog on a trip and doesn’t see him again for years, are as emotionally cathartic as some of the best adult dramas I’ve seen. And the ways in which Bandit continually overestimates his ability to avoid injury or public embarrassment at the hands of his adorable yet frequently exasperating daughters provides an endless source of comedy.

Certainly, the audience wants more, more, more. So, understandably, does Disney, which has reportedly tried to buy the rights to the series, and/or expand it into theme park attractions, movies, and many more seasons. 

But then there is “The Sign,” the Very Special Episode of Bluey that began streaming this weekend. In addition to being four times the length of a normal episode, it spends much of its time acting like a series finale. As panic-stricken viewers learned at the end of the previous episode (“Ghostbasket”), the Heelers’ Queensland house has been put up for sale. As “The Sign” begins, the family is preparing for two events: the wedding of Bandit’s brother Rad to Chilli’s friend Frisky, and the Heelers themselves moving to another city so that Bandit can take a better-paying job.

“The Sign” is filled with ideas and vignettes that would ordinarily be at the center of separate episodes, rather than placed together. But over time, all turn out to be about the same things. Early on, for instance, a tearful Bluey tells her classmates about the move(*), and their wise teacher Calypso begins reading a pop-up book about a farmer whose luck seems to constantly shift from good to bad and back again. With each turn of fortune, the farmer simply replies, “We’ll see,” prompting Bluey to wonder whether the story has a happy ending or a sad one. “It’s both,” Calypso says.

(*) The show is very careful about when to let its characters act like dogs (including their names), and when they should act like people. Here, the other kids surround Bluey in an empathetic group hug, then begin to howl like members of the same pack.

Rad apologizes and agrees not to take Frisky halfway across the country, and the wedding goes off as planned. And as we see most of the show’s recurring characters enjoying themselves at the reception, and as Bingo finally comes to understand that selling the house means they can’t live in it anymore, it seems as if we are heading for the conclusion of the entire series.

But then, in a Rube Goldberg chain of events not dissimilar to the plot of Calypso’s pop-up book, the couple who had been planning to buy the house fall in love with another property, and back out of the deal. And Bandit — who has also felt uneasy about the move, even as he convinced himself that he’d be giving the girls a better life — takes this news as an opportunity to turn Bluey’s naive fantasy about the sign into reality. He marches over to the accursed thing, forcefully yanks it out of the yard, and hurls it into the cul-de-sac, all to the soaring music of Meg Washington’s “Lazarus Drug.” And if you are able to avoid getting choked up, if not begin outright sobbing, as you watch Chilli leap through the air and tackle her husband in relief and gratitude, then you are made of stone, friend.

Like the conclusions of episodes like “Sleepytime,” “Camping,” or “Granddad” (about Chilli coming to grips with her aging father’s mortality), “The Sign” is a masterclass in how to imbue these seemingly ridiculous cartoon dogs from a little kids show with enormous depth and shading, all by beautifully articulating the kinds of emotional struggles and desires that ring true whether you’re Bingo’s age or Chilli’s.

It concludes with the Heelers moving back into the house, and enjoying a picnic dinner in the unfurnished family room — with Bandit and Chilli’s tails wagging to confirm their joy at getting to stay. This could suggest that this isn’t meant to be the end of the show. As of this writing, no one wants to say one way or the other. When I asked a Bluey publicist if this was the series finale, I was given this statement: “We can’t comment on speculation, but our promise to fans is that as soon as we have news to share they’ll hear it from us first.”

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But perhaps it’s best to focus on Bluey’s conversation with Calypso about the pop-up book. After discussing the meaning of the farmer’s story, Calypso attempts to reassure her sweet young student that, “Everything will work out the way it’s supposed to, Bluey.” If we’re looking at that as her prediction about the Heelers’ move, then perhaps it’s another instance of the show atypically treating a child’s fear as not requiring validation. If we’re looking at it as a more existential discussion of a hugely influential show presenting this mysterious but frequently wonderful special, then it begins to seem more fitting.    

Is this the end of Bluey ? Like the farmer said, we’ll see. But whether or not it continues, everything will hopefully work out the way it’s supposed to.  

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NPDS - NHL Hockey is going to Utah! Goodbye, Arizona! Hello, Salt Lake City!; INJURIES STINK! Will Heat and Pelicans overcome them? (Episode 1036)

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• April 19, 2024 (United States)
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