The under-appreciation of comedy is no laughing matter. For far too long, funny movies have been relegated to the rafters by audiences, critics, and awards bodies because they’re all mistaking lightheartedness for a lack of sincerity. It’s a reductive view of a genre that has produced some of the most enduring classics of not just global, but also Indian cinema. Kunal Kemmu’s Madgaon Express is a fine recent example. Destined to become a cult classic — the movie has just the right amount of soul to temper its silliness — it will probably not be honoured come awards season.
And that’s because comedy films, and the performances in them, are largely seen as inferior to ‘serious’ cinema. Would it, for instance, really be that outrageous to describe Paresh Rawal’s performance in Hera Pheri as one of the finest in recent Hindi cinema history? And be honest, how many of you would unironically rank Ranveer Singh’s work in Rocky Aur Rani Kii Prem Kahaani alongside his acclaimed performances in Gully Boy and Lootera? These weren’t walk-on parts. Both actors used every tool available to them to create fully-realised characters that were critical to their respective films’ success. As has Divyenndu, whose finely tuned lead performance as the doofus Dodo lifts Madgaon Express out of a pit of ordinariness.
Also read – Heeramandi: Sanjay Leela Bhansali directs the most offensive scene of his career; controversial Padmaavat climax has nothing on it
Pratik Gandhi, Divyenndu, and Avinash Tiwary in a still from Madgaon Express.
He isn’t the most likeable character; Dodo is deceitful, self-centred, and unpredictable. When his childhood best friends Pinku and Aayush move abroad to build better lives for themselves, Dodo is left behind to rot in his disapproving dad’s apartment. To project a facade of prosperity, he begins posting photoshopped images of himself in exotic locations around the world, hobnobbing with the likes of Salman Khan and Anurag Kashyap. His friends buy it. But when Pinku and Aayush, now played by Pratik Gandhi and Avinash Tiwary, return to India after a couple of years to fulfil their lifelong desire to go on a boys’ trip to Goa, they discover that Dodo had been lying to them all along.
It’s one thing to position a character as deceptive and then build the audience’s sympathies for them — more experienced filmmakers have tried and failed at this — but it’s genuinely brave of Kemmu to conclude Madgaon Express on a note that can only be described as… sour. In the film’s final moments, after the excitement of the cleverly staged climax has died down, Kemmu chooses to reveal Dodo’s biggest crime yet. He’d been catfishing Aayush for months, winning his affections by pretending to be a girl called Nisha. Aayush’s reaction to this heartbreaking revelation is crucial; he storms off in silent anger, returns unexpectedly, smacks Dodo across the face, and then gives him a hug of genuine warmth. Wordlessly, Aayush summarises our own complicated feelings about the character.
Dodo’s evolution lies not in some sort of sudden sainthood, but in his newfound ability to be honest. Because not too long ago, he found it chemically impossible to stop lying. This is illustrated rather hilariously in the film’s pre-interval sequence, when Aayush and Pinku confront him about all the untruths that he has been telling them. He doesn’t live in a penthouse, they discover; he doesn’t even drive a Mercedes. If Dodo had a penny to his name, he wouldn’t have insisted that they travel to Goa by train, and he wouldn’t have checked them into a dodgy hotel room with cocaine hidden under the bed. A cornered Dodo takes a moment to scan around for any metaphorical escape routes, fails spectacularly at spotting any, but makes a run for it anyway. “Main ek RAW agent hoon,” he begins, before realising that the jig is up, and conceding that he’s ‘a nobody’.
Even though it’s impossible to make excuses for some of Dodo’s behaviour, you begin to understand that this is exactly what a person like him would do in these situations. This is empathy. Most of it is down to how Dodo has been written on the page, but Divyenndu’s contributions cannot be understated. Closely modelled on the Zach Galifianakis character from the Hangover movies, Dodo is both pathetic and proud; he demands pity but also comes across as a pest. These are difficult notes to hit, but Divyenndu is able to inject pathos into everything that Dodo does. This is vital, because without pathos, Dodo would be a cloying caricature, and the movie would tank immediately.
Read more – Kho Gaye Hum Kahan: Ananya Panday is the best thing about the Netflix movie, so why does Bollywood insist on miscasting her?
Divyenndu and Pratik Gandhi in a still from Madgaon Express.
Contrary to popular belief, a good comic actor will always be equally skilled at drama, because in addition to nailing the comedic beats, they’re always looking to find the inherent humanity in every scene. Divyenndu is wonderful not only in the emotional moments, such as that pre-interval sequence and the climax, but often, he is asked to juggle multiple tones in the same scene. There’s an extended sequence in which Dodo, in drag as a Konkani goon, infiltrates a gang hideout in an attempt to steal a stash of coke. It’s an absurd set-up — the sequence involves a severed finger, projectile vomit, and a granny brandishing an AK-47 — but Kemmu peppers it with moments of humanity designed purely to underline Dodo’s affection for his friends. And Divyenddu keeps his end of the bargain by playing both sides of his personality with equal sincerity. Dodo is just as committed to his fibs as he is to his buddies.
Pinku and Aayush didn’t leave him behind on purpose — in a way, that would have been a better alternative; at least he’d have had some closure. Dodo simply outlived his relevance. He was discarded like an old sweater, ignored like a regrettable purchase, swept under the rug like an embarrassing mistake. His existence didn’t matter anymore. Everyone knows a Dodo, but Madgaon Express serves as a reminder that at some point in their lives, everyone has been a Dodo.
Post Credits Scene is a column in which we dissect new releases every week, with particular focus on context, craft, and characters. Because there’s always something to fixate about once the dust has settled.
Click for more updates and latest Bollywood news along with Entertainment updates. Also get latest news and top headlines from India and around the world at The Indian Express.
Post Credits Scene is a column in which we dissect new releases every week, with particular focus on context, craft, and characters. Because there’s always something to fixate about once the dust has settled.
Disclaimer: The copyright of this article belongs to the original author. Reposting this article is solely for the purpose of information dissemination and does not constitute any investment advice. If there is any infringement, please contact us immediately. We will make corrections or deletions as necessary. Thank you.
