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The Fakir of Venice promised not to follow up, just like the type of Indian hybrid film he represents. The debut of Anand Surapur, made in 2009 and released a decade later, evokes a series of films made by Mumbai directors from the advertising and music video sectors. These productions featured urban characters, a clash of cultures, and a dialogue combining English and Hindi. They talked about the experiences of filmmakers who felt excluded from traditional Hindi cinema and the Indian tradition of street art, and suggested for a moment the emergence of a new kind of independent cinema.
Farhan Akhtar, who was in fact his first film role, is perfectly cast as an Indo-Anglian film production fixer and cheater of trustful Adi Contractor grbad. Adi is in the same mold as similar characters from films such as In which Annie gives him those English, August (1994), Hyderabad Blues (1998), Bombay Boys (1998) and Snip! (2000). Adi thinks and communicates in English and, although his current address is in Mumbai, India, he prefers to be far away. In one of the few attempts of the Fakir of Venice to significantly attack this schizoid and inflection state of belonging, Adi tells an Italian who stated that she had always wanted to come to India and that he had always wanted
Adi got his chance when an Italian art gallery ordered him to recruit an Indian sage for a exhibition based on installations in Venice. Adi makes an unsuccessful trip to Varanasi, where he meets both forgers and true mystics. One of them tells him, why should I go anywhere when the universe is in front of me, but Adi misses the point.
The solution of Adi is with us. Sattar (Annu Kapoor), a slum dweller in Mumbai, is not a holy man, but he has all the experience in burying sand longer than humans can. A perfect parlor trick to fill the belly suits both Adi and Sattar, placing them in a traffic jam that will take them to one of the most beautiful cities on the planet.
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But the wild satire promised by the opening scenes is barely durable once the story is spent in Venice. The city by the river is badly slaughtered, despite the plethora of beautiful places. The adventure abroad, limited to one week per visa in the film, but which seems to be a budget constraint, hardly develops the skeletal plot of Rajesh Devraj. The clumsy bademblage of scenes and the stop-start impulse give only a few moments of insight or humor marked on 98 minutes.
Farhan Akhtar seems too chic to be a man who desperately needs to fill his bank account, but his presence is quite appropriate. Annu Kapoor's Sattar is too sentimental and lying on her stomach to attract empathy, and her story of sobbing in the background never evokes the poignant character to which she is destined.
Kamal Sidhu is a lost character, who should have participated in the adventure of Venice but is not. The veejay and the model – a reality on television in the 1990s – have a brief role as Adi's ex-girlfriend. The film was designed for the generation that keeps fond memories of Sidhu's kinky curls and the Canadian accent, but unlike her, she has not aged well. The decade between its completion and its release appears in every frame. Mumbai and Venice are visibly less crowded than today, and the actors are younger and more energetic, but the movie art world made little sense then, let alone in 2019.
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