Early in 2012, when the trailer for Kahaani first showed up, the responses to it ranged from sceptical to intrigue, the former due to Sujoy Ghosh’s rather inconsistent track record till then, which consisted of the cult classic Jhankaar Beats, the rather off-kilter Home Delivery and the absolutely terrible Aladdin, and the latter responses were thanks to Vidya Balan, who was fresh off the success of The Dirty Picture. A slow starter at the box office, Kahaani ended up being a seminal moment in the careers of both Ghosh and Balan, as it went on to be one of the most memorable movies of 2012.Continue reading “Kahaani 2 Movie Review: Twist In The Tail”
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.
The 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)
(a self-proclaimed cinephile)
This 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”
If only a gifted actor and a promising idea could guarantee an engaging film – Madaari would have gone down as a winner. But alas, gifts and promises are not always a precursor to happy endings. Are they? And in that sense, films and relationships have so much in common.Continue reading “Madaari Movie Review: Why not stay with Irrfan and his haunting eyes? Revolution could have waited.”
You can be forgiven if you mistook TE3N to be a sequel to Kahaani, for there are several similarities shared by these films. The film not only reunites Vidya Balan and Nawazuddin Siddiqui, it also sees Sujoy Ghosh producing the film. Besides this, Suresh Nair and Ritesh Shah who had written the story, screenplay and dialogues for Kahaani, handle the same responsibilities for this film as well. TE3N can also be interpreted as a film that would have transpired if Vidya Balan’s character from Kahaani would have become a cop and decided to help similarly distressed souls with Nawazuddin as the I.B officer giving her company.Continue reading “TE3N Movie Review: This Slow Paced Thriller Is An Underwhelming Affair”
There is an innate calmness and simplicity about Airlift. No matter how big the scale or how herculean the task at hand is, Airlift goes about its business with an extraordinary easiness. There is no patriotic chest thumping (may be a little bit towards the end), no heart wrenching portrayal of war and its associated grief, no screeching or shouting. Most of the frames in Airlift are fittingly raw (sometimes eerily ‘still’) and heartwarmingly subtle. And, this is the biggest win for director Raja Krishna Menon and his team. They manage to tell an extraordinary story of courage and survival with an authentic, real-life ordinariness.Continue reading “Airlift Movie Review: The Film Leaves an Impact Without Much Fuss”
The year 2013 saw Duniyadari smash all Marathi box office records, only to see history repeat itself in less than 6 months with Timepass going a step further in the beginning of 2014. We always hear about filmmakers either interested more in the aesthetics and artistic nature of their films or filmmakers who are more interested in how successful their films turn out to be. And there’s that select breed of filmmakers who manage to straddle both Worlds comfortably. But what would you say about a film that is created not as just a creative vehicle, but more like a product with multiple stakeholders backing the same? Imagine a deliberate attempt to create a successful product life cycle, with the product being a film in this case. Well whether you are with me so far or not, I am sure the rest of the post will surely put things into perspective.Continue reading “Lai Bhaari Movie Review: Old Wine in an Attractive Tetrapack”
Hansal Mehta’s CityLights is one film I have been gushed about ever since I heard about it. After watching his earlier venture, Shahid, 2 years ago, I was convinced that Mehta has found his sleight in telling tales of the teething realities of our times. Gripped by the first trailer itself, I went in to watch the film first day first show, this morning. It is not a happenstance that he has cast the phenomenal Rajkumar Rao in this one, post their association in Shahid. The duo also won National Awards individually for the earlier film and Rao is undoubtedly India’s current best actor. Contrary to the struggles faced by Shahid to find a theatrical release, the Bhatts (Vishesh Films) took up CityLights early on and have watermarked it with their traditional music style without robbing it off its essence. Yet, CityLights is far less greater than Shahid which goes on to say that it is hard to create magic on screen everytime you decide to make a film.Continue reading “CityLights Movie Review : A Dark Tale of the Grim Reality That Must Not be Missed”
Citylights is an official remake of Metro Manila (2013), a British-Filipino film that received critical acclaim and was even Britain’s official entry to the 86th Academy Awards for the Best Foreign Language Film. Produced by Vishesh Films and Fox Star Studios, Citylights sees the National Award winning actor-director duo of Rajkummar Rao and Hansal Mehta coming together once again. The film talks about Deepak Singh (Rajkummar Rao) who is forced by circumstances to move out of his native place along with his wife (Patralekha) and daughter to the big bad World of Mumbai to seek a better living, only to realize that things aren’t as rosy as they had expected it to be.Continue reading “Citylights: Trailer”