Based
in
post-independent
India,
in
rural
Odisha,
Kaun
Kitne
Pani
Mein
is
a
socio-political
satire
set
against
the
backdrop
of
water
scarcity.
It
speaks
of
how
tables
turn
with
constant
change
in
situational
dynamics.
The
phrase
which
forms
the
title
of
this
film,
is
apt
for
this
fable.
While
the
film
deals
with
the
class
and
caste
system
and
the
changing
undercurrents
between
the
ruler
and
his
subjects,
it
is
a
conniving,
complex
and
manipulative
tale
laced
with
sub-plots
of
father-son
bonding
and
romance.
At
the
onset
we
are
informed
that
there
are
a
long-standing
differences
between
the
villagers
of
'Upri
Gaon'
and
the
'Bairi'
(lower
caste).
Cast:
Kunal
Kapoor,
Radhika
Apte,
Gulshan
Grover,
Saurabh
Shukla
and
Hema
Singh;
Director:
Nila
Madhab
Panda;
Living
in
Upri
Gaon,
the
once
rich
Raja
Braj
Kishore
Singh
Deo
(Saurabh
Shukla),
is
the
last
of
the
feudal
lords
who
is
now
living
in
penury.
His
land
has
been
hit
by
draught
for
many
years
and
he
is
now
keen
to
sell
his
land.
Unfortunately,
no
one
is
willing
to
buy
it.
His
son,
the
Rajkumar
(Kunal
Kapoor)
returns
from
the
city
only
to
curse
his
father
and
his
luck.
On
the
other
hand,
the
land
of
the
Behiris,
is
flourishing
under
the
leadership
of
a
wannabe
politician,
Karu
Phelwan
(Gulshan
Grover).
With
water
there,
the
place
is
fertile
and
green
and
consequently
the
people
are
happy
souls.
In
factm
he
states,
"Raja,
woh
jiske
paas
paani
hai".
Raja
Braj
convinces
his
son
with,
"Main
jaat
nahin,
halaat
manta
hoon" to
manipulate
his
way
into
the
folds
of
the
low-caste
people
in
order
to
get
water
from
their
end.
This
forms
the
crux
of
the
tale.
Saurabh
Shukla
essays
Raja
Braj's
character
with
sluggish
ease.
It
is
amusing
to
watch;
his
servant,
'sevak'
literally
dress
him
up,
him
slouching
with
his
lazy
demeanour,
drinking
and
basking
in
past
glory.
Kunal
Kapoor
as
the
Rajkumar
with
a
progressive
and
malleable
mindset,
is
charming.
He
oscillates
between
a
conniving
son
and
romantic
with
equal
grace.
He
romances
Paro
(Radhika
Apte),
Karu
Phelwan's
daughter
and
their
on
screen
chemistry
is
palpable.
Radhika
shines
as
Paro,
but
unfortunately
since
the
tale
is
packed
with
too
many
issues,
their
romance
does
not
get
enough
screen
time
and
hence
appears
perfunctory.
Gulshan
Grover
walks
through
his
role
as
Karu
Phelwan.
The
rest
of
the
supporting
cast
members
are
natural
and
you
do
get
transported
to
rural
Odisha.
On
the
technical
front,
the
script
written
by
director
Nila
Madhab
Panda
and
Deepak
Venkateshan
begins
on
a
boring
note.
The
first
act,
loaded
with
a
preachy
voiceover
exposition
layered
over
2D
graphics,
makes
the
film
look
amateurish.
But
as
the
narration
progresses,
you
get
involved
with
the
characters
and
are
hooked.
Humour
is
strewn
sporadically
in
the
form
of
rustic
witty
dialogues.
Unfortunately,
the
inconsistency
in
the
accents
and
the
dialect
maars
the
consistency
of
the
flow.
With
decent
production
values,
the
locales
and
setting
look
natural
and
are
efficiently
captured
by
Subranshu
Das's
cinematography.
The
background
score
and
songs
merge
elegantly
into
the
tale.
But
it
is
the
beautifully
choreographed
folk
dance
on
the
song
"Rangapati,
Rangapati" which
stands
out.
Overall,
the
film
has
the
look,
feel
and
charm
of
a
bygone
era.