Because of her father’s life in the army, Radha’s family is constantly on the move – moving from one corner of India to another. Her childhood, although not turbulent, was one of constant movement – ever-changing, fluid, and far from conventional. We see glimpses of her simple joys: spending afternoons with friends, caring for her younger sister, and eagerly gathering around the television with her family.
But when her father was transferred to Owerri, her parents decided that she should stay with her grandparents, where the schools were better, hopefully providing her with the stability she had never known before. This is where “Umesh Chronicles” unfolds – a tender coming-of-age story elevated by Pooja Kaul’s quietly magical storytelling, where the mundane rhythms of growing up take on an almost transcendent lyrical beauty.
It’s refreshing that Pooja Kaul allows this film to not just be Radha’s story, but also the story of the domestic help, people who are often forgotten when we look at middle-class families in India. Although Radha’s family belongs to the middle class, they are still relatively privileged, and The Umesh Chronicles does not shy away from showing the reality of those whom cinema often fails to portray gracefully.
Often, these characters appear to depict struggle and pain without any sense of interiority; Cole chose to give this up. It allows us to see dreams, hopes and inner lives, and the realities depicted never feel sanitized nor twisted into something overly dramatic a la “Slumdog Millionaire.”
It’s shot with exquisite care and tenderness, imbued with a quiet honesty that makes every moment feel real and profound. While Radha lives with her grandparents, she slowly begins to befriend Sundar, the house helper. Their friendship is beautiful, but it is clear that the life of privilege afforded to Radha is something that will always mean that there is a wall between the two – even when Radha can climb the wall and see how her boyfriend lives, hear his story, and see his pain.
There’s an understated tenderness radiating from Pooja Kaul’s meditative coming-of-age drama that signals the arrival of an incredibly exciting voice in Indian cinema. Kaul gives the film such an ornate and lively quality that you can’t help but get immersed in it immediately.
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The non-linear narrative makes the film feel like a tone poem. The sounds of rain falling, tea on the stove, and light streaming through the halls of the old stately house. The quiet conversations, the musical moments, the comings and goings of guests and friends. Cole is able to find the universal truths of Indian middle-class life and allow it to flourish.
The film is an incredibly nostalgic piece that never feels saccharine. Her nostalgia is rooted in the familiar warmth of childhood rather than an obsession with cultural artifacts. It’s a magical film that feels so tight and lived-in, that it’s hard not to see elements of your character or your family on screen. Even though I personally didn’t grow up in India, as someone from the diaspora, I saw a lot of my family in this film. I saw my mother, I saw my grandfather, and I saw the childhood stories that were told to me. In fact, specificity is what allows it to be so beautifully universal.
The film’s visual language invites us to observe like a fly on the wall – so close, but never intrusive. He draws our attention to quiet details: fleeting glances, subtle gestures, cobwebs tucked in corners, faded family photos, and cracks running along the walls. It is unpretentious, but surprisingly rich in texture. The cast is uniformly excellent – a seamless mix of first-time and non-professional actors who carry their characters alongside legends like Amitabh Bachchan. Aziya Khan, as Radha, makes a stunning debut; She captures the curiosity and wonder of childhood while accurately conveying the discomfort of a life defined by constant change.
One of the biggest surprises of the film was for Amitabh Bachchan. Through a host of scenes playing Radha’s grandfather, he manages to deliver his best performance in a long time. Bachchan’s performance carries an easy order, imbued with heaviness but tempered by a disarming warmth.
Even with limited screen time, it leaves an indelible mark; There’s a fleeting look he gives near the end of the film that quietly breaks the audience’s composure, bringing tears to their eyes without uttering a single word. Adil Hussain is also memorable in a brief but poignant role as a family friend who accompanies Radha to Uri. In a simple scene about observing the stars and constellations, it evokes a quiet sense of wonder that lingers long after the film is over.
The Umesh Chronicles is considered one of the most influential and emphatic debut films in modern Indian cinema. Cowell crafts this story of childhood, class, privilege, and growing up with such tenderness and honesty that it’s impossible not to be moved by its simple honesty.
