Kaun Kitney Paani Mein is formed in a encampment in Odisha, where aged values and prejudices face a drought and poverty. Raja Braj Kishore Singh Deo (Saurabh Shukla) owns a encampment that has no water. He lives in a house though hasn’t been means to compensate his electricity check for 3 years. Sozzled — he has to splash his blockade neat given there’s no H2O — he tells his son, Raj (Kunal Kapoor), “Raja ki baat toh door, sound toh praja bhi nahi rahenge.” It’s a masterclass in behaving by Shukla, who is glorious as a dipsomaniac and rickety king.
If usually Kapoor could conflict suitably. The dismay we feel is mirrored each time a Raja calls his son and asks, “Kuchh kiya?” and his son has zero to report. Only in box of a father-son conversation, they’re articulate about sex. Sex that Raja Braj Singh Deo hopes will spin his fortunes around.
As a successor of a rich Kshatriya family that has exploited bad farmers for generations, Raja Braj has hereditary a empty hilltop encampment of Upri, in drought-struck Orissa. As a immature woman, his sister committed a principal impiety of descending in adore with a low standing kid and a dual immature lovers paid with their lives. Not only that, Raja Braj’s father assembled a wall to keep a poor, reduce standing lot out of Upri.
They changed downhill, to a encampment called Bairi, and start to change their fortunes. Under a care of Kharu Pehalwan (Gulshan Grover) and his crafty daughter Paro (Radhika Apte), a villagers toil, build dams, collect sleet H2O and grow crops. Thirty years later, Upri is bad and impoverised, while Bairi is flourishing.
Defined by H2O politics, H2O is all in Upri. It is even used as banking between a locals, with people profitable everybody from prostitute to pundit with packets of water. A poor, unfortunate weaver decides to puncture a good and afterwards a tip hovel that will bond to a lake in Bairi. His story, and what ends adult being a fruit of his efforts, is a many revelation method on a pitiable state of a poor.
Sick of his unlucky circumstances, Raja Braj decides to sell off his land holdings. However, no one wants to buy a encampment that has no water. His son, Raj, wants income to go investigate abroad, though there’s no income for him either. Neither is there water, so father and son are reduced to celebration neat whisky.
Ultimately, Raja Braj and Raj confirm that a best approach to save themselves and Upri is to by removing Paro pregnant. This will put Kharu Pehelwan in a parsimonious and exposed spot, and to save his daughter’s reputation, he’ll determine to whatever Raja Braj final — including permitting Upri to entrance Bairi’s hard-won water. It’s not a many shining of plans, generally deliberation how feisty Paro is and how pregnancies have mostly been dealt with discreetly (from termination to promulgation a lady to another place, a options have traditionally been many). However, given things don’t go according to plan, a merits of a devise might be ignored.
As a shamelessly conniving, conceited King who lives on wine and covers his mislaid grace with a fake moustache, Shukla is good as a waggish though pitiable Raja Braj. Shot 3 years ago, before Radhika Apte became one of a many talked-about talents of Bollywood, a singer proves nonetheless again that she can make a tackiest and dull scenes come alive. Unfortunately, these dual actors can’t make adult for a problems in a film.
Writer-director Nila Madhab Panda done his entrance with critically acclaimed we am Kalam. With Kaun Kitney Paani Mein, he has an glorious premise. He’s selected to tell his story as a satire, that creates a film interesting in parts, though he struggles to make it demeanour and feel credible. Only a scenes involving Raja Braj and a bad weaver digging his good feel authentic. In Bairi, all looks staged and all a characters are stereotypes. The regretful lane between Raj and Paro is so theatrical, it could be true out of a play.
Yet notwithstanding the pitfalls, Kaun Kitney Paani Mein has moments of fun and a theme that is relevant. Watch it for Saurabh Shukla.