Pink Movie Review: Much Ado About Pink?

Pink – A Review


Directed by: Aniruddha Roy Chowdhury    Written by: Ritesh Shah

Starring: Amitabh Bacchan

Sometimes a film comes that taps into some of the core issues of the prevalent society, issues that have already been hotly debated and discussed. When such a film comes from a producer known for making daring, different films (Shoojit Sircar of Piku, Vicky Donor, Madras Cafe), directed by a 2 time national award winner making his first foray into Bollywood (Aniruddha Roy Chowdhury of Antaheen and Anuranan) and starring a septuagenarian colossus of Indian Cinema who is still an audience catcher (The BigB, enuf said), it is only expected that hype around this movie release will hit the roof.

But when hype hits the roof, opinion on the film (so aptly named Pink) can sometimes get “colored” by a different shade. And so when glowing reviews kept pouring in about a pioneering brave work, and expectations rising ever higher, yours humbly tried to approach the movie cautiously, to watch it with a neutral lens while keeping expectations and emotions in check.

The good news is that the film doesn’t disappoint overall, but one is left to wonder whether the film really deserves all the accolades for its bravura. But more on that later. The plot is pretty straightforward (minor spoilers in this paragraph) – a group of single working girls get entangled in an attempt at molestation by 3 Delhi boys, where one of the girls injures his molester in self-defence. Constituting the first half of the film (and probably the better half), what follows is very urban girl’s nightmare in a patriarchal society, as they get constantly harassed by the boys thirsting for revenge, nor do they get any support from the Police, work-place or near-ones. Suffocated by social stigma, the role of victim and oppressor gets intermingled, as the Girls are accused of attempted murder. It is at this point, Deepak Sehgal (Amitabh Bachchan), a retired lawyer suffering from bipolar disorder with an ailing wife (Mamata Shankar), who has till then been a silent spectator to the girls’ troubles, decides to represent them as their defence counsel (the 2nd half of the film).


Armed with a theme that has been the talking point of the media and social networks in the last few years, Aniruddha Roychowdhury paces the film well with a 1st half that looks like is a slowly concocted suspense thriller where we find the victims and protagonists being gradually choked by the after-effects of their traumatic experience. From the opening sequence, the film grips you with a gently piercing background score, building up the tension, while the audience wonders what really could have happened that unfortunate night. Amitabh Bacchan (who eerily looks like an aged stalker) seems to be a brooding spectator as the girls’ next door neighbour, till he finally decides to take matters into his own hands. While Pink on a broad level bears some resemblance to the Hollywood film The Accused (featuring a stunning and explosive performance from Jodie Foster), the scenario and response of the characters are quintessentially of an Indian society. While the Accused was more violent, shocking and graphic, Pink avoids being in your face and never shows the actual events but references them through the statements of the defendants. Also, while Jodie Foster’s reaction was more of rage, the 3 girls in Pink are shown more helpless as they are not only up against their assailants, but the encompassing society which does not sympathise.

However, the film’s level falls off in the 2nd half as becoming too preachy and stereotypical. As a consequence of Amitabh Bacchan’s several court room dialogues, the audience is literally force fed the evils of patriarchy and the meaning of consent. Boys shouldn’t construe girls drinking and partying as an indication of being “easy” and ready; the girls also said “No! Nada! Zip”, hence there is no question of consent. It kind of feels squeamish when a film needs to spell out each and every item as if schooling a society with the emotional intelligence of a kindergardener. Some people may argue that given the kind of disgraceful acts that even our urban society can stoop to, this spelling out of everything seems to have become necessary. What’s worth debating though is if the target audience is even reached by such a film, as the film is unlikely to appeal to such people. Which then necessitates that the film at least plays a more generic role in educating the society, but then again it will be watched more by a relatively mature society who are already well aware of such societal malaises prevalent through the media. In that sense, the film is hardly a social zeitgeist as it has been made out to be by various sections of the media.

pink-amitabhThe acting of the film was par for the course. Big B was mostly brooding in the film, with occasional flashes of brilliance in the court room scenes. For an evergreen actor, one can still be appreciative of his performance, if it weren’t for the very similar style of acting that he had earlier showcased (and probably better in Te3n). Someone who has seen Te3n would feel he is seeing the same person in Pink, although the characters are entirely different. One wonders if Mr.Amitabh Bacchan is playing the same thing regardless of character (even if the same thing is still pretty good). The 3 actresses give decent performances at best, with Kirti Kulhari standing out. Dhritiman Chatterjee looked aged as the Judge with the quavering voice (not too sure if that was deliberate).

But what is new and refreshing is the depiction of such themes in the Bollywood mainstream. In a year where we have seen Bollywood mainstream go bold with releases like Udta Punjab, Pink can be another feather in its otherwise pretty threadbare cap. Like the old classic and one of the best courtroom dramas, Anatomy of a Murder (1959), was outright in its time with its frank discussion on rape and sexual themes, it took Bollywood mainstream another 50 years to give the setting for such films to come (while bold themes have been prevalent in parallel cinema like Bandit Queen, Matribhoomi, they weren’t part of a mainstream release). On the creative side, the strong points of the film was undoubtedly the musical score with its blend of piano melody mingled with phases of intensity as if portending the audience of something sinister lurking in the background. The editing was also taut, at least during the 1st half.


Overall, Pink is another bold release in a line of Bollywood releases vindicating the fact that the mainstream is maturing over the last few years. While much has been said of the film as a social commentary, I would hardly think the film is an eye opener on a facet of society that has been sufficiently put on the scanner. Rather than being a pioneer, Pink is more of a follower of this trend. One also can’t help but feel the irony that in an unforgiving patriarchal society comprising of roguish boys and women who have conformed to such a setting (like the female police deputy), it is finally up to the ageing patriarch, who finally decides to come out of his brooding shell in an attempt to restore some semblance of parity. The movie poster also shows Big B towering over the 3 defenceless girls with a rather dominating gesture. In a theme about women empowerment and liberalisation, this seems rather out of place (The Accused had a female lawyer Michelle Pfeiffer). Eventually, Pink is still part of Bollywood mainstream, and Big Stars still attract big audience.

So, let’s not get ahead of ourselves in showering our praise, but give credit where it’s due. Pink is not a pioneering film per se; there have been lesser known but more pioneering and relevant films depicting such issues outside the mainstream, like Matrubhoomi or even Bandit Queen. While we admit that gender bias and molestation is a malaise in urban Indian society, the inequality prevalent in rural India is of far more alarming proportions. Depicting rural India may not be as eye catching, so films showcasing these issues are socially relevant and deserve more attention. I’ll also be hoping to write a review on Parched (Radhika Apte in a bold performance), a film on gender inequality in rural India that went under the radar due to the Pink hype, if I get the time.

While quoting the title of Shakespeare’s Much Ado about Nothing may seem to be too harsh a statement on Pink, it is nevertheless true, especially given the hype that was build up around the film. Rather let’s just say it’s a relevant film that resonates with the membrane of today’s society.

My rating: 3.0/5 (maybe +0.5 to be generous)

Pathikrit Basu

(a self-proclaimed cinephile)



Pink Movie Review: The Film Leaves the ‘Modern Society’ Red-faced

pink-amitabh-bachchan-upcoming-movie-poster-release-date-poster-mtwiki-2016This has been an unusually long dry spell for an average Bollywood lover. Barring an intermittently funny Happy Bhag Jayegi, there has hardly been any film in the last month or so that has managed to register its presence in our minds – forget about leaving an impression. Midst of all the blues, comes director Aniruddha Roy Chowdhury’s Pink – a film with an odd title but an intriguing enough trailer to raise a few hopes. And by the end of its runtime, the film not just exceeds your hopes but also reinstates your faith in the good, old Bollywood and its ability to churn out meaningful, powerful stories.Continue reading “Pink Movie Review: The Film Leaves the ‘Modern Society’ Red-faced”

Dahan (1997) Movie Review: Engaging and Incisive Drama

DahanRecently, while spewing venom on the insensitivity with which the Indian media and the society in general deals with sexual harassment/ rape cases, i was made to wonder why most men hesitate to get married to a rape victim. Is it just because of them losing their virginity? After all, the rape victims are never to be blamed for it. Also the concept of a virgin bride has lost much of its significance. On sharing my query with fellow MAM authors on our group on a mobile messaging app, one of them explained that it is about the stigma attached to the whole issue. Our deeply conservative and rotten society doesn’t allow the victim and her family to move on with life very easily. Being cinephiles to the core, we try to find our answers in cinema. So another MAM author recommended Rituparno Ghosh’s Dahan to me as it tackles exactly the same issue i was grappling with. I was not much exposed to the acclaimed Rituparno Ghosh’s cinema and so i immediately followed up on the recommendation. As the end credits of the extra-ordinary film rolled, much of the doubts in my mind were answered.

Dahan(Crossfire), adapted from a novel of the same name, throws the spotlight on the moralities of the educated middle class of Calcutta of the 90s through a sexual harassment incident and a chain of events that get linked to it. In the film, Romita is molested and almost kidnapped on the streets of Calcutta. Her husband Palash, who is accompanying her, is also brutally assaulted by the men rendering him unconscious. Romita’s scream for help are ignored by others on the street except for a strong-willed school teacher Jhinuk who helps Romita escape from the clutch of the attackers. The film then goes on to explore that how despite the press hailing Jhinuk as a heroine and her identifying of the attackers, both the ladies face opposition from their families in their resolve to seek justice due to societal pressure and moral fickleness.

Dahan maintains a starkly realistic texture in its drama. It mostly steps away from melodrama despite handling a sensational subject unlike earlier efforts in Indian cinema like Santoshi’s Damini. The dialogues too are conversational and help us in identifying with the characters. The film expertly lays bare the insensitivity with which the Indian society makes it difficult for Romita to seek justice. It subtly shows how even Jhinuk’s fiance and Romita’s husband Palash are manipulated and pressurised in their workplaces into discouraging the ladies from seeking justice. Despite touching many other themes like the fallibility of ideals and their practicality, social stigma and male chauvinism amongst others, the clarity of thought in the film remains intact.

It is rare to see such well-etched and lovely women characters in an Indian film. Be it the resolved and uncompromising Jhinuk who is ready to risk her marriage for her ideals or the confused, submissive and caught-between-two-worlds Romita or even the fiance of one of the perpetrators of the crime who now doesn’t wish to marry a male chauvinist. The performances too by Indrani Haldar as Jhinuk and Rituparno Sengupta as Romita are topnotch. Ghosh successfully manages to evoke empathy in our minds for all his women.  But the male characters in Dahan on the other hand are quite uni-dimensional, an even more rare feature in an Indian film.

The subtlety ensures that points made in the film are not forcefully driven across. However, the scene where Palash violates his wife on the bed and the courtroom scenes could have done with more restrain.

Very impressively the sexuality in the film too has a matter-of-factness and maturity to it, case in point being the scene where Jhinuk’s fiance Tunir tries his best to convince his darling of not persisting with her resolve to pursue the case, but not before planting a few kisses on her lips.

Dahan could very well have ended on a feminist note, but here again the film pleasantly surprises you by subtly convincing us that in the end each individual can depend only on one’s ownself and nobody else.

Rituparno Ghosh’s Dahan is thus a highly recommended piece of cinema as it is not only a very well made and engaging drama that tackles a sensitive subject with maturity and subtlety, but also convincingly puts across rather pertinent ideas.



Abohomaan – Some Tales need more than Time and Logic

Rituporno Ghosh may have his naysayers, but I have always had this conviction that he is the best Bengali cinema has produced ever since Satyajit Ray. Now, that’s a big accolade and of course people have criticised that Ritu Da has tried to emulate Ray a bit too much in his films. Well, may be. But then which Bong film-maker hasn’t?Continue reading “Abohomaan – Some Tales need more than Time and Logic”