Skip to main content

Not in the Pink of Health

Saw the latest Hindi film "Pink" that is making waves with its powerful message of a woman's "NO meaning NO". What a powerful film with a super strong message of women's empowerment!

The film shows its three leading ladies as flawed, real, erring persons, who made the grave mistake of befriending some louts who later try to act fresh with them. The girls are harassed in all ways possible and later dragged to court by these hoodlums. They manage to fight their case with the help of a maverick lawyer, and emerge victorious, though shaken after some ruthless questioning on their morals and characters.

The film reflects reality both in the form of the attitude of the average man on the street and the new generation woman, who is not afraid to mix, laugh, and share a drink with strangers. The boys feel that the girls have invited trouble for themselves with their clothes and behaviour. That, unfortunately, is the general mindset of most men in India, however modern they may claim themselves to be. The girls' lawyer challenges these notions and asks some scathing questions in court. Why are there separate rules for men and women? What is acceptable for men, why does that raise eyebrows for women?

Amitabh Bachhan, who essays the role of the lawyer, is exceptional as the aging, gritty legal eagle who mockingly lays bare the hypocrisies of Indian society. The girls, played by Tapsee Pannu, Kirti Kulhari and Andrea Tariang, starkly portray the helplessness and vulnerability of being under constant assault. The direction is taut, though it could have been tighter, with the dramatic scenes in court holding the viewer's attention throughout.

However, considering the subject of the film and the rather disturbing visuals and conversations, it would have been wiser to make this an adult film.

Comments

Popular posts from this blog

All We Imagine as Light- Lyricism on Celluloid

When an Indian film makes it the prestigious Cannes film festival, the world sits up and takes notice! And the lovely ladies swinging on the stage is a recent memory that brings a sense of pride. I had the good fortune to catch this film on screen recently. A review of such work is unnecessary, but still am bursting to say a few words. Right from the scintillating background score, to the events that unfold like pages fluttering in an open book, to the effortless performances, it's a masterpiece all right! The first half romances Mumbai- in the rains, at night, in the bazaars, in dingy rooms, in the local trains. Image source: Wikipedia  The second half shows what light truly is, brilliant sunshine, crashing waves and salty air in a small coastal village in Maharashtra. You can feel the taste of salt, the breeze in your hair and the touch of sand under your feet, the cinematography is so real. Payal Kapadia masters the art of holding back, of showing beauty in the mundane. The hosp...

Guru Dutt - Legacy of an Overlooked Genius

"Yeh Duniya Agar Mil Bhi Jaae to Kya Hai:" This heartfelt anguish was literally personified by film maker and actor extraordinaire - Guru Dutt, whose birth centenary happens to be tomorrow (July 9).  Maestro or Failed Genius? All his life, he strove to depict his vision, his dreams on celluloid. Yet, even as he strove for success, for renown, he was a bit of a recluse, a black sheep himself. It was as if he wanted to challenge the language of popular cinema by being within the format, from the inside. His women had brains, taxi drivers and masseurs were philosophers, sex workers pined for spiritual ecstasy, and friendships blossomed between unlikely people. Common people on the street spoke wiser logic than academics or high-nosed editors. The topics of the films may seem dated now, but the eternal truths voiced in them remain relevant.   His films were distinctly different from other popular Hindi films. They had all the commercial elements of song, dance, comedy, romanc...

Shiuli in October - Transient Beauty

Image Source - IMDb Have you seen poetry on celluloid? A soft, lilting song playing out in slow motion? A story unpeeling itself, episode by episode?  I have revisited Shoojit Sircar's exquisitely beautiful movie, October. The whole film unspools like poetry in motion. Each frame, each movement, each word adds to the lyrical quality of the touching film. And Shantanu Moitra's mellifluous background score brings it to life. I still can't get that haunting music out of my mind. Whoever would have thought a mainstream film - about a sudden, freak accident that sends the lead actress into coma could be so very ephemeral, so lyrical? Most part of the movie unfolds in a hospital room, amidst catheters, ECG machines, drips, and hospital beds. Yet, the way the director has handled this serious theme is spectacular.  Celluloid lyricism, economy of expression The director works his magic through poetic frames, expressions, seamless transitions, verbal and non-verbal imagery. His stor...