Balaram Kando Movie Review : A sloppy script even good acting can’t save

Based on a story by Apala Chowdhury, Balaram Kando, directed by Saptaswa Basu, follows a pair of ex-spouses who reunite after years of separation when their 18-year-old daughter, Abanti (Aishwarya Sen), decides to marry without their knowledge. Determined that she is too young for marriage, Kishore (Rajatava Dutta) and Tara (Gargee Roychowdhury) chase her down to Nainital, where they find her in the middle of her wedding preparations. Convinced that she is making a mistake, they team up to sabotage the wedding.
While the premise is intended to be comedic, the script is riddled with inconsistencies and plot holes. A major issue is the confusion surrounding Tara’s age. Early in the film, it is mentioned that she’s 18, yet later, it is stated that she’s pursuing her master’s degree. Tara, an academically accomplished woman, is now determined to prevent her daughter from repeating her mistake – getting married at 18 and getting divorced. Abanti, on the other hand, is portrayed in a way that aligns with an older generation's stereotypical perception of Gen Alpha, complete with social media obsession and reel-worthy dramatics.
To add to the confusion, the story goes that Tara left Kishore 12 years ago. If that were the case, Abanti should have been only six at the time. However, the film shows a child in her pre-teen years following her mother out the door. These inconsistencies, along with other questionable plot points, weaken the narrative, making it difficult to engage with the film’s logic – even for a brainless comedy.
The film introduces several ‘funny’ characters, including Lama (Apratim Chatterjee), a Gabbar Singh-obsessed goon who bears a striking resemblance to a Bangla Pokkho politician, and a hotel manager, Jagaran (Uday Modi), who has painted fake eyes over his eyelids to appear that he’s awake all the time. These characters, along with others, serve as vehicles for outdated humour. However, Arya Dasgupta as Vishal delivers a commendable performance despite his limited screen time.
The true saving grace of the film is the seasoned duo of Rajatava and Gargee, who, with their strong performances and impeccable comic timing, manage to carry the film despite its faltering script. Cinematography by Prabir K Sen is well-executed, but the music fails to leave a lasting impact.
Ultimately, Balaram Kando is a one-time watch at best – an attempt at comedy that is often undermined by its own inconsistencies.