There is no light at the end of this tunnel.
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These are not immensely likeable people, and though the movie may end, their problems won’t. It is because of scenes like this that “Titli” is not an easy watch. He doesn’t flinch even when he deliberately fractures someone’s hand with a hammer, even though the audience is likely to. In the case of Titli, it is latent and almost matter-of-fact.
In some like Vikram’s, the personality is visible and bubbling at the surface like lava, ready to explode any moment. There is ruthlessness in all of Behl and co-writer Sharat Katariya’s characters. She is no pushover, has her own agenda, and isn’t beyond using Titli to get it. When Titli’s bride Neelu enters the all-male household, the dynamics change. “Once he has a family, there is no escaping,” Amit Sial, who plays the middle brother, tells his elder brother Vikram ( Ranvir Shorey, in what is probably the role of a lifetime). But his brothers get a hint of his plans and nip them in the bud by getting him married. Their father (played brilliantly by Lalit Behl, the director’s father) is the silent but toxic presence that poisons the atmosphere in the house by pitting his sons against each other.Ībused by his brothers and disillusioned by his life, Titli’s only route to escape is investing in a parking lot in a shopping mall, a symbol of the new upwardly mobile India that he thinks represents a better life.
His brothers are carjackers, driven to a life of crime on the hope that it will provide a step up from their squalid home and their miserable lives. That is Titli in an essence – always trapped and desperate to break free. His face has a defeated expression as the trio ride along the wide roads and grimy alleys of Delhi. One of the recurring images in Kanu Behl’s “Titli” (Butterfly) is that of the eponymous protagonist sitting on a two-seater bike, squashed between his two brothers and unable to move an inch.
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