I like the storyline of this show,it attract me so much

Best movie ever!

While it doesn't offer any answers, it both thrills and makes you think.

The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

The Lunchbox, is a wonderful new film which is a reworking of sorts of 1998's American romantic comedy, You've Got Mail, which starred Tom Hanks and Meg Ryan. In this version it takes place in India, and involves a food delivery service which drops off lunches to people in the various businesses around the area. After a meal that was meant to be delivered to her husband instead ends up on the desk of office worker Saajan, he takes one taste of the food delivered to him, thinking that this is just the usual restaurant chain that is supposed to be bringing him his meal, but instead he notices that the food is a lot better than usual and also inside the food tins used to store the lunch is a note to her husband Rajeev, from the cook of the meal and Rajeev's wife, Ila. What happens next is most interesting as Saajan doesn't just apologize and make Ila aware that the food is not going to her husband, but instead writes a note back to her in the same food container, telling her of his great love of her cooking. Ila then decides to continue to send food back and forth to Saajan and with it each day is a little letter that she has written and through the gift of her cooking as well as Saajan and Ila both being lonely people, they end up starting a pen pal relationship where they correspond to one another with letters and in Saajan's case, he also ends up getting a delicious meal out of it. The premise as I watched the film, immediately reminded me of You've Got Mail, which for an American romantic comedy is definitely among the better of them, but thankfully The Lunchbox takes it's own road with this story and definitely makes it something all of it's own instead of a direct remake, or a foreign language copy of You've Got Mail. There is plenty here to definitely please fans of romantic comedies and there is also enough here that will appeal to foreign film fans as well as those who are connoisseurs of Indian films. I myself have really become quite smitten with the East Indian culture within the past ten years or so, after being introduced to some wonderful restaurants in the downtown core of my city, as well as discovering great Indian films such as Sholay and the wonderful works by Satyajit Ray, such as Charulata, or The Big City among his very impressive work, which I think ranks right up there with some of the world's best filmmaking auteurs. As far as literature goes, you also can not beat a good Salman Rushdie novel either. As for The Lunchbox, this is a film that not only fascinates you with a dash of culture from another side of the world, but you also grow with these characters and while their lives may seem so very different from our own in some ways, you can not shake off the feeling and sense that so very much of what they go through and deal with on an everyday basis is the same as if you are in America, Canada, or any other part of the world, so no matter where you may be living and putting the cultural differences aside, you will definitely be able both to relate and have empathy for the characters on the screen in front of you. There is also so much wonderful humour and lighthearted moments to be had here as well. The humour at most times is quite quiet and small, but definitely more than once I was looking up at the screen with a big smile on my face and truly enjoying what I was watching and at times getting great amusement and joy out of the film. There is a certain element of warmth not only to these characters, but to the film itself, not just with it's wonderful yet subtle sense of humour, but there are moments in this film that I found had true beauty in them. A great example would be the mellowing out of Saajan towards a new fellow coworker and how he becomes in many ways a kinder and gentler person because of these wonderful meals and letters that he is receiving. This is a film of not only great character study, but it also has a great sense of humanity and an in depth look and feeling of true human emotions and spirit which really makes this film quite touching at times, but also reflective to those watching it and at times a film of great warmth, beauty and dare I say, love. The acting is wonderfully expressive even when it is at it's most subtle and the screenplay truly captures the human spirit, but also allows the viewer to have much fun with the film in the process. This is one of the best films of the last several years and definitely not one to be missed. A true modern day masterpiece.

'The Lunchbox' is set in Mumbai, though it has a naturalistic, European art-house sensibility (slow pace, cinematography) but one shot through with an Indian perspective (European producers are listed on the credits).It is a very different type of film from traditional Bollywood fare, just as American indie films are distinct in tone from mainstream Hollywood. It portrays scenes featuring the lives of ordinary people, like the delivery workers who transport meals around Mumbai & children playing on the street. Scenes tend to repeat themselves, but with subtle changes.It's a film about the emotional lives of two lonely people & the glimpse of another kind of life. The opening shot of trains passing by on parallel lines sets the tone for a tantalising story about whether these two lives will intersect: Ila, a young housewife & a widower, Saajan, about to retire from a life-time of conscientious service in an office.As someone perceptively pointed out about Mumbai's dabbawalas - famed for their flawless precision, the element of chance always exists for a new friendship & emotional connection to be made in the seething metropolis. And this is what happens when Saajan receives a meal prepared for Ila's husband.The food itself seems to be more of a metaphor, about Saajan's hunger (emotional need) & Ila's delicacy of feeling & subtlety which go unappreciated by a husband more keen to get ahead in 21st century India. Ila's husband takes her for granted, but Saajan appreciates the carefully prepared dishes, & so begins an exchange of notes & a deeper friendship, where they reveal more about themselves, show solicitous concern for each other & reveal their fantasies (Bhutan). The notes fill an emotional void in their lives. Ila's husband does not see the other side to her personality as shown in the scene (visual) where we see her dual reflections in the mirror. Instead, there's quiet comedy with the husband chiding her about always cooking cauliflower when she wants to talk to him, prompted by Saajan's advice, about having another child. A later revelation only reinforces the distance between them.The exchange of notes begins to comfort the harassed Ila & humanises the withdrawn, taciturn Saajan through the second plot of Saajan's relationship at work with his much younger successor, Aslam, a slightly comical figure. The notes soften Saajan's personality, such as his relationship with the children on the street.Gradually, Ila's exquisite food (Babette's Feast) becomes the means by which the older & younger man bond, leading to Aslam reciprocating, inviting Saajan to his family home. Aslam reinforces the film's main plot-line. He is sometimes liberal with the truth, (his working background, his 'wife', the scooter), though he lies for good intentions. Ila & Saajan live cautious lives yet Aslam's home-spun philosophy 'Wrong Train, Right Station' offers the tantalising glimpse of an alternative, putting personal fulfilment first before convention.The film reaches it denouement when the correspondents arrange to meet. A chance comment on the train ('Uncle', emphasising his age) sees Saajan lose his nerve. This part of the film was deftly & expertly handled by the director as a key revelation makes us see things anew, of how we can shy away from possibilities by our fears & doubts. It felt emotionally true to the register of the film, eschewing melodrama in sync with the film's restrained emotional tone.Ila is hurt, she chides him though we know he acted for the right reasons. And here, again, the film reveals its (poetic) intelligence because the couple have already bonded emotionally, revealing their inner-most being, perhaps already fallen in love with each other despite not meeting. Ila has connected with Saajan in a way she never could with her husband.The film's strength is how it keeps the correspondents apart, though the ending suggests this story is not yet over, that a shared fantasy might translate into reality. Like a good short story, the film has seen lives irrevocably changed by a chance event, the change is subtle but no less the powerful for that. Things remain unresolved but with the possibilities left open.

Can confusion ever lead to love? Most of us would not believe it, but the movie lunch box advocates exactly the same. When Lonely Housewife Ira who in the hope of winning over her ignorant husband prepares the finest of tiffins for him, destiny has other ideas as the lunchbox keeps getting delivered to the widower Saajan(Irfan Khan). The movie is an absolute entertainer. Saajan falls in love with a woman he has not even met, just by communicating with her by passing letter in the lunchbox which itself plays a key role in uniting these two. The movie is a sublime combination of supreme acting, excellent direction and phenomenal background score. Actor Nawazzudin Siddiqui also plays an integral part in the film and entertains the audience with his gimmicks. The depiction of the dabbawallahs of Bombay is also very accurate and vivid. Overall, the movie teaches the message that love need not depend on looks, language, ethnicity, all that is needed for love is love itself.

Rarely an Indian film without its trademark dancing-and-singing routines, director/writer Ritesh Batra's feature debut marvellously utilises the exotic "dabbawalas" system of Mumbai, which is an intricate lunch delivery service to people at work from their their homes or restaurants and is remarkable for its accuracy, but Batra fictionalises a little mix- up of the system and links two strangers into an epistolary communication, and from there, their penfriend-ship will further sublimate into something more genuine and profound.Saajan Fernandes (Khan) is a middled-aged widower on the brink of early retirement as a senior accountant, he is withdrawn, cynical and tries to dodge the responsibility to train his new replacement Sheikh (Siddiqui). One day his colourless life is revitalised by a mis- delivered lunch-box which he vastly enjoys. The lunch-box is made by Ila (Kaur), a housewife who attempts to win the her husband's heart through her cuisine. When Ila realises the delivery blunder, instead of righting the mistake, she starts to leave a note to this stranger in the lunch-box and Saajan writes back too, steadily, they exchange their own stories and life philosophy, which becomes the enzyme of a blossoming romance since both find a conduit and a confidant to change their disappointing status quo. Like YOU'VE GOT MAIL (1998, 7/10), THE SHOP AROUND THE CORNER (1940), the two protagonists are destined to meet sine they are not like Helene Hanff and Frank P. Doel in 84 CHARING CROSS ROAD (1987) who are divided by the Atlantic ocean and deferred by a difficult economy situation. It is quite easy for them to meet when all the romantic buildup reaches its threshold, Ila finds out her husband is cheating on her whereas Saajan gets close with the orphan Sheikh, takes him as his protégé, and is ready to turn a new chapter of his life. But Batra refuses to hold out such an easy pass for their significant first meeting, for the sake of narrative twist, he wields the "sudden" epiphany of age difference as the obstacle to morally righteously curb the passion from Saajan's side. And from then on, the film descends into a limbo of indecision, through Saajan's capricious determinations, it actually reflects Batra's insecurity of how to consummate the story in an unconventional way, as his first feature, his endeavour fails to achieve that goal with the over-contrived open ending.Performances are uniformly pleasant to watch, Khan's goggled eyes alone can patently exhume his deepest inner feelings to an affecting effect. Kaur, also downplays the default setting of an under-appreciated wife and evinces her steely resolution of a woman doesn't yield to an unhealthy marriage. Siddiqui's Sheikh. comes around often as comic relief with an inherent optimistic spirit, registers a well-developed balance of humour and earnestness.The film's retro flair in rediscovering the magic power of authentic writings is naturalistic-ally endearing to endorse, and "sometimes the wrong train takes you to the right station", is the motto conspicuously referred three times along the whole movie, THE LUNCHBOX is a rarity among the usual Bollywood products, its message can reach unanimously to every soul who is inspired to find its rightful purpose, and its art-house appeal can lure those who are disinterested in Indian cinema (like myself) into its poetic embodiment of an unusual encounter.