Rani Mukherji’s strong portrayal of a Tourette Syndrome sufferer emerges skin deep in a film that never goes beyond the obvious

Hichki is a genuinely earnest film made with heart. But it doesn’t take enough risks and consequently doesn’t touch a raw nerve in the way that Taare Zameen Par did. But it’s always nice to see a talented actress with all guns blazing.

Hichki oscillates between a strong-willed teacher and some kids pushing against the wall. One can be a hero only at the cost of the other. One of them must get an easier win, and the director chooses Rani Mukerji.

It’s well-intentioned and will move you, but it could have been so much more.

You believe in the brilliance of Rani’s sparkling intelligence and physical stamina through the arduous journey of straightening an unruly lot and braving a barb-ready rival sniggering at her methods — Neeraj Kabi’s starchy, suit-clad, teacher is Narayan Shankar to Rani’s nonconforming Raj Aryan.

But the vexing obviousness and self-pitying texture of the narrative cannot be justified by playing earnest.

And that’s one syndrome Hichki never gains advantage over till the end.

Rani Mukerji’s energetic, engaging performance apart, Hichki is a huff-and-puff show marked by too much mush and fuss. But it has just enough to keep tearjerker junkies interested.

Some scenes may invite the eye roll for their mawkish quotient but even in them you can’t take your eyes off Rani Mukerji. In her first film post motherhood, Mukerji reminds why she is one of the naturals in business of pretence. Rarely does Mukerji hit a false note as the driven and happy-go-lucky Naina who refuses to play the victim card and goes about embracing the kids that are not all right. It’s her true grit that makes Hichki appealing.

Sure, we could do with a fine, desi version of Dead Poets Society (1989). This film’s intentions—even if multiple, and therefore all mixed up—are laudable, no doubt. But, naah, doesn’t quite cut it, you know. Or at least doesn’t seem like worth cutting classes for, anyway.

What we’re missing in this brave, sporadically engaging film is a childlike innocence that films like Dead Poets Society or even Rockford had. Instead, Hichki is Rani’s baby. The entire burden of the film is put on her shoulders — from the sassy bits, to the dramatic ones. It would have been nice to add some sub plots and regular intervals of comic relief. However Hichki is shot well, and the background score adds a certain charm to the film.