Director Sturla Gunnarsson turns a good novel by Rohinton Mistry, into an extraordinary film, capturing the warmth of family life in a crowded apartment house in Bombay, along with its sights, sounds, and smells. Main character Gustad Noble (Roshan Seth) is a devoted father and husband, a believer in the ceremonies of his Parsi religion, a conscientious worker as a bank supervisor, and a friend who believes in loyalty to those who have helped him.
Gustad and his wife Dilnavaz are trying to lead good lives during the political and social turmoil of Indira Gandhi's rule in the 1970s. India is on the verge of war with the Muslims of Pakistan, and though Gustad is aware of political corruption, he is far more pre-occupied with having his son accepted at a school of technology, doing his job as a bank supervisor, and supporting his family. Constant blackouts and continually deteriorating conditions on the street add to the frustrations of Gustad's life. When an old friend, asks Gustad for help on behalf of the Indian government, Gustad reluctantly agrees to deposit money to a secret account at the bank. He soon finds himself enmeshed in a spiral from which he cannot break out.
Seth is a fine Gustad, showing with a raised eyebrow or a casual glance a range of emotions which makes Gustad come alive. Rasdan, as his wife, is both loving and frustrated, fearful of what Gustad may have committed himself to, and worried about her son, who does not want to got to a technical college, and their small daughter, who is extremely ill. Little Shazneed Damania, as the sick child, is extraordinary, and when she has tremors and convulsions as a result of her fever, she wrings the heart of the audience.
The wall outside Gustad's apartment building, symbolizing the larger world of Bombay, is a far more dramatic and significant element in the film than in the novel. When Gustad persuades a sidewalk artist to paint the wall so that it will no longer be used as a latrine, the artist (Ranjit Chowdhry) depicts scenes from all the religions of India. The wall becomes a shrine--until the government decides to tear it down, paralleling in some ways the life of Gustad..
Though major scenes are depicted in intimate interior settings, effectively photographed (Jan Kiesser) to show visually the characters' relationships, the panoramic outdoor shots of the roiling life of Bombay dramatically intensify the turmoil within Gustad's life. Sensitively acted and directed, with a screenplay written by the book's author, the film is the visual embodiment of everything Mistry achieves in the novel. Outstanding!