Vishal Bhardwaj is undoubtedly one of the better and more sensible directors in Hindi Cinema today as each of his films till date - Makhdee (2002), Maqbool (2003), Omkara (2006) would testify. Hence expectations are high for every film directed by him. Blue Umbrella, too, is a good effort but let's just say overall Bhardwaj has done better.

Based on a story by Ruskin Bond, the film has been described by Vishal as 'a children's film for adults' but therein lies its problem. The film is neither totally a kiddies film nor is it entirely a film for older people and is, in fact, an uneasy mix of both. But then what is a children's film? In India, this generally means a film with a child protagonist but does that mean that there cannot be children's films with an all adult cast or stories with children that are aimed at adults? In fact, Blue Umbrella in terms of feel, pace and storytelling style, is more of a film for adults even if going according to convention norms, the film has won the National Award for Best Children's Film.

It is heartening that this film, though made in 2005, has finally got a theatrical release as different and sensible cinema like this must be supported. Definitely Omkara as well as the success of small films like Khosla ka Ghosla and Bheja Fry has helped. With Blue Umbrella, Vishal once again shows his strength in placing the film in a particular milieu, his fine attention to detail and above all impeccable sense of casting the right face in the right role. Every actor feels like he belongs in the film.

The film, a fable, looking at the effects of greed and desire, nicely questions the premise of mere material gains and shows us the futility of it all. Certain sequences are extremely well-worked out as when Biniya poses with the foreign tourists and Nandkishore watches jealously from a little away and later on when he poses with the tourists with his red umbrella, Biniya stands looking at him exactly where he was earlier. However, the point of view switch from Biniya, whose story you think it is to Nandkishore is unconvincing as it takes the film elsewhere. If this was being done following the umbrella as it changes hands, then the story really ends with the exposure of the thief. In that sense, the epilogue tracing the humiliation and final repentance of Nandkishore, though extremely well done, does not really fit in well with the happenings of the early part of the film and what's more goes on a little too long. Speaking of the beginning, the establishing of Biniya and the other characters in the village is also too self-consciously cute. And the denouement of the umbrella thief when the rain causes the colour to run could have been done more excitingly playing with the colours but is ultimately too flat.

Looking at the performances, Pankaj Kapoor is the life and soul of the film. He shows us exactly why he is one of our finest actors around. Just see him in his roughish avataar trying to get the umbrella out of Biniya or his look of envy each time he sees Biniya with the umbrella. Catch the ecstatic look on his face when he has his taste of pickle following the delivery of his umbrella or see the hurt on his face as he suffers total humiliation. He is simply outstanding in the film. Shreya Sharma is effortlessly natural and spontaneous as Biniya and easily stands up to Pankaj in their scenes together. The rest of the cast too blend in effortlessly and are first rate, be it the village schoolmaster, the champion wrestler, the schoolmaster's wife or the children.

Technically, Sachin Krishn's camerawork captures the external locations of Himachal Pradesh beautifully but betrays the low budget of the film as the lack of lights in some interior sequences are obvious. Certain shots like the POV of the umbrella descending down appear downright gimmicky rather than having that magical feel which one feels was needed as the umbrella falls towards Biniya. And the ever changing weather on location has made keeping lighting continuity extremely difficult for the cinematographer. In terms of editing, the slow and languid pace of the film tells on the film particularly in the stretched out epilogue. Besides, there are scenes where the editing could have been tighter. The entire sequence with the Japanese tourists who give Biniya the umbrella in exchange for the bear claw is extremely weak and again goes on and on. The music is adequate and situational, the best composed and written number being Neeli Aasmani Chatri.

All in all, a good effort by Bhardwaj with the highs outweighing the lows and well worth a watch.