Some of the exchanges between the daughters-in-law are well-written but one needed more memorable and affecting characters like those of Supriya or Konkona. While there is a host of talented powerhouses like Seema's husband Manoj Pahwa, Vinay Pathak, Parambrata Chatterjee, Konkona Sensharma, and Vikrant Massey but only the last two stand out because of the shades lent to their characters. It saddens her, as she confesses later in the film, but the feeling is made very evident by her loquacious expressions much early on. Watch out for a scene where she is the pivot to her family's red-handed mischief at a time when they are supposed to be grieving the patriarch's loss. It is a travesty since she is immensely watchable as an actress, who appears too less for the sheer magnitude of caliber she possesses. But since this is an ensemble film, other characters (members of her family) eat into her screen time. The only character one roots for is that of Supriya. While doses of comedy and drama are there in flashes, they eventually crop up as inherent pieces of a broken narrative. Since the tone oscillates between the two, it appears confused even after the film has found its footing in terms of the plot. The tone of the film is never able to deep dive into either drama ( like Kapoor & Sons and The Sky Is Pink, and even Baghban for that matter) or comedy (which is a pity since Seema is remarkable at comedy). As it happens in small-town Indian households, the funeral takes place on the second day of death but the prayer meets are extended to a prolonged 13-day period, a tad too long for all the family members who chose to lead their individual lives in other cities, away from their parents.

When Ram Prasad (Shah) passes away via cardiac arrest, his four sons, along with their wives and children visit the ancestral place to grieve with his wife. It only leaves the central character of Supriya Pathak, after the death of her husband (Seema's mentor Naseeruddin Shah in a special appearance), encounter a Baghban-like realisation that her sons and daughters-in-law only pretend to be emotionally connected to the ageing parents. While the latter managed to create a conflict by introducing two contrasting ways of dealing with the death of a close one (daughter in this case), the former fails to sustain interest in its narrative. A promotional still of Ram Prasad Ki Tehrvi.

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