Tannishtha Chatterjee’s Full Plate is an amalgamation of all things food, fun, and…domestic violence. The first question that comes to mind when you watch a film like this one is, why is it so happy if it’s about such a dark subject? The answer lies in the director’s mindset. Full Plate tells the story of a poor Muslim woman whose husband gets injured while celebrating the festival of colors, Holi. At the time, Amreen, our protagonist, is at home, cooking the family a meal, because that’s all she’s meant to do. Soon after, it becomes clear that her husband isn’t going to be able to go to work for the foreseeable future. Amreen decides to take matters into her own hands for the sake of her three children, one grown up enough to know how to be a feminist. What follows is a thrilling series of events, where Amreen learns to dream while enjoying being a working woman. Will she end up happy? Or will things turn sour? That’s the basic premise of Full Plate.
I can’t say Full Plate is unique because it’s definitely a story we’ve seen often before. However, the stylistic choices made by the storyteller are quite intriguing. Most iconic is the relationship between Amreen and Parul, her first boss. Parul is vegan and doesn’t have a problem with Amreen’s black burqa, something that other people aren’t willing to accept. However, that’s the extent of her acceptance. They’re polar opposites in every way, and it’s interesting to see how the director took a small anecdote from a friend whose maid suffered at the hands of her husband and turned it into something so lush and rich.
Visually, the film is exactly what its title reads, a Full Plate of colors, subplots, and characters, all of which are beautifully elaborate and well sketched out. In Full Plate, Amreen goes through a transformation, but this isn’t a visual or physical one; it’s about the mind, and I love that we get to see it through her language, her work, and her passion. The film is a layered concoction like a biryani. There are some meaty bits, some rice, and tinted with saffron, but does it all blend well together? I think so; however, I can’t say that it’s very deep in its sociological presentation.
I already talked about how the film wasn’t unique, and this is especially true when it comes to the concluding act, which is way more fairytale-like than the rest of the story, but this actually makes the movie more fun to watch. I think it leaves you feeling positive about the world, and I appreciate being able to come out of a film about domestic violence feeling that way. I think more than anything, Full Plate hopes to be a fun time while reminding us to be kinder to our neighbors, our house help, and just people who may need help. It’s definitely got commentary on class, but it doesn’t do much about it; it’s simply stating facts rather than trying to get deep. While Chatterjee is the kind of director who would generally give us something thought-provoking, I don’t think it’s fair to have that expectation from every single film. I think, based on what she’s going through in real life, we can imagine she wanted to do something exciting and happy rather than remorseful, and this comes through in the film.
Of course, I can’t go without talking about the protagonist, Amreen, who is an unforgettable character thanks to the actress who portrays her, Kirti Kulhari. Kulhari has always been an excellent actress, and with every role, you can see that she’s having more and more fun with her work, truly enjoying every second of it. Her expressive eyes bring a great dimension to the film, especially when we get to see her with her eldest son. Many might find the film totally uneven, but I think, since it’s coming from the point of view of our protagonist, it makes sense, especially because while she’s suffering at the hands of a husband who believes his position as the head of the family is under threat, while she’s gaining popularity as a master chef. Additionally, the big villain of the film, Imtiaaz, is played by Sharib Hashmi, a man who often plays energetic and kind-hearted characters. In his own words, “Happy Go Lucky” characters. But this film sees him in a completely different light and proves that he’s an excellent actor who will truly make you want to punch him. Monica Dogra as Parul seems to just be an extension of herself. Shubhangi Bujpal is just excellent as Amreen’s friend and confidante. She lights up the screen every time she’s on it.
Honestly, I thoroughly enjoyed the film and don’t think it should be taken too seriously. There are moments that’ll make you laugh out loud, times when you feel joy with Amreen, and then there are moments when you tear up. The dialogue is punchy and realistic, and I thoroughly enjoyed the conversation between the three poor maidens about “open marriages” and homosexuality. Again, you can really tell how much these actresses enjoyed shooting this film and those parts especially.
In terms of pacing, I do think the film can feel a little bit long somewhere in between, and could have been cut short by about 15 minutes. There are a couple of montages that can feel draggy, but it’s a theatrical experience that shouldn’t be missed. The thing that I really want to talk about, though, is the music and background score. It’s been days since I watched the film, and the second I think about it, I can hear the song “Chak Le” play out in my head. I find it especially funny that the title of that song means “taste it,” and it gives me the sense that I am tasting Full Plate while humming along to the tune.
At the end of the day, you may love or hate this film, but it’s still thought-provoking and will bring a smile to your face at some point. I think for that reason alone it’s a film to look out for. Tannishtha has already won the Visionary Director Award for it, and she manages to prove that it’s worth it. Despite some hiccups, because I never found myself distracted from this film and felt thoroughly enraptured, I give Full Plate 4 out of 5 stars. The additional star is for Kirti’s sheer presence.
