Angrezi Medium takes us to Udaipur where Champak Bansal (Irrfan), proprietor of 'The First Original Ghasiteram Mishthan Bhandar' lives with his family. His little girl Tarika (Radhika Madan) has one dream - to concentrate in a college abroad. 

There is no power more noteworthy on the planet than the affection for a parent. This is the focal subject of Irrfan and Radhika Madan-starrer Angrezi Medium. The film takes us to Udaipur where Champak Bansal (Irrfan), proprietor of 'The First Original Ghasiteram Mishthan Bhandar', lives with his family. His girl Tarika (Radhika Madan), has one dream since she was a child - to concentrate in a college abroad. Whenever she at long last gets an opportunity to go to London, her dad takes the necessary steps to guarantee that his girl's fantasy is satisfied. 

What's more, with this, starts an energizing ride as we giggle, cry and snicker once more (really, we chuckle a great deal) alongside Champak, his sibling Gopi (Deepak Dobriyal) and Tarika. The film's first half presents all the significant characters and permits us to be a piece of Champak's reality (and become accustomed to his thick Rajasthani tongue). An entertaining subplot, that is astutely remembered for the primary story later, is likewise set up. 
The narrative of Angrezi Medium, in any case, isn't as basic as it would seem that. Aside from demonstrating a dad's unqualified love for his girl, the film likewise gently addresses different subjects. The present age's interest with traveling to another country for higher investigations, the false impressions that regularly crop up among guardians and kids, the significance of being there for your family when required and how, in some remote territories, a young lady needs to confront different difficulties to try and be permitted to seek after her fantasies. These layered subjects, in any case, have all the earmarks of being constrained, much like the cleverness in certain scenes, and cause the movie to lose its course now and again. This is the explanation the film feels somewhat extended in the center. 

Likewise, there are times when the film falls prey to generalizations and offers us nothing that we haven't just observed. For example, an air terminal scene where an Indian man is stressed over the container of achaar he's going with, an unassuming community young lady getting diverted once she is in an outside land, a companion continually showing up with assistance in the penultimate hour of need, and a man saving contention for his darling niece.