Analysis :

The film has the distinct scent of immortality. Cooked up in the middle of the cutter of Mumbai city that is a familiar sight, the film uses unforgettable props to grab on to your memories. The lasting sights of passing trains and messy government office, the spirited dabbawalahs who feed scores of people everyday unfailingly; the ordinary setting of the story also manages to stay attached to us in its unchanging folds of familiarity. At the same time yet the remarkable beauty of its ironies make the film naturally moving. There can be no dispute that writer, director Batra has penned down an extraordinarily fine story which its incredible actors have developed gradually.

A story that's disconnected regarding a neglected housewife and a salaried man on the extreme edge of turning into a pensioner comes together with an lasting beauty. The woman cooks with the expectancy that she’ll one day find the recipe that will make her husband notice her beyond the shadow of the woman who inhabits their Malad home. Saajan Fernandez is a man stuck in the complexities of loneliness. Essentially a loner with fractured memories of his deceased wife and an dull life, Ila manages to spice up his tiffin and his life with her spices and dishes. By a mysterious mistake of dabbawalahs, the tiffin she packs for her husband reaches Saajan and the two strike up a relationship over letters.

She bares the marbles of her boring marriage and that she suspects her husband is having an affair. He recounts to her, the memories of his wife laughing over and over at the same jokes of Yeh Jo Hai Zindagi and recording them while he kept looking back at her reflection. There is endearment in every scene that comes on the frame – if you can find, there is beauty is every slide the director has come up with. Even supporting characters are hued up. Nawazuddin plays Shaikh, the man who is to replace Saajan at work, a chattering young man, who chops vegetables on his work files and makes references of his dead mother’s sayings (one who he has no clue about) simply to add weight to his lines. Such characters immediately grab your fondness. The voice of Bharti Achrekar as Deshpande Aunty who is needless bustle over her coma stricken husband’s diapers is another character who secures a place in your heart even when you never catch a glimpse of her. She is intriguingly used and such a delight throughout.

If you have ever seen the film The Great Indian Butterfly, you’ll know why the constant referencing to Bhutan is both affectionate and yet an unsound argument. Nevertheless, the idea has been developed gradually accompanying a hammering acuteness. The significance of the wrapping lines have far reaching impact than we can comprehend while we hear them over and over again in the film. ‘Sometimes even the wrong train can reach you to the right station!’