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Abhira: Life main problems ho chalega lekin Armaan na ho..
September 14, 2016 Team Pinkvilla 2548 reads 2 comments |
Do you have the guts to provoke yourself to think? Well, be forewarned because Pink does just that. It isn't a film for the feeble hearted; it stirs, moves and shakes you up with a jolt. With the progressive technology, a large part of the country still suffers from a primitive mindset where there are different rules for the two genders. Men are the privileged lot. As men, we take it for granted that there only two kinds of women - the one we can score easily and the ones who tease us and play hard to get. The women are well aware of this mentality and yet dodge it because that's what the society has conditioned them to do. In between the progressive and primitive worlds, lie today's times, at the cusp of an explosion and still bogged down by the shackles of morality.
Crude, prude and all of that, Pink makes you want to think where have we gone wrong as a society. It is a social thriller that has some deep, impactful messages in the story but director Aniruddha Roy Chowdhury refrains from giving us a crash course in aggressive feminism. For more reasons than one, we would dare to call this movie the year's best so far. Amongst the plenty theories as to why Pink fares well on our scorecard, our reason will be simple - its sensitive portrayal of an incident whose gruesomeness is never shoved in our faces. The story unravels gradually creating a familiar milieu with strikingly palpable characters and relatable setup. Three middle-class women share an apartment in Delhi; good jobs are on their side and they return home to seemingly posh apartments. They are making enough to make ends meet and fare a tad better than that. But life goes topsy-turvy when a fun night turns into a horror show. After a bunch of rich brats get physically abusive the girls, they react, one of them more brutally than others. There is an accident that ends in bloodshed and soon after, harassment ensues. The boys follow them around with a vengeance till she is compelled to lodge a complaint. Now in India, is it difficult to prove that single girl who lives alone, loves her independence, fancies a drink once in a while, wears short clothes and has a mind of her own is loose on her morals. Of course, she deserved to be molested, didn't she?
The girl isn't the one to give up easy. She musters the courage to get a senile lawyer to fight her case and prove to the world that a modern woman can her own ideas about love, life and sexuality but that gives nobody the authority to slander her character.
But that's not its stops. Shoojit's mentoring helps layer the film with sharp nuances. There is a beautiful commentary of how North East, which comprises of seven states is still looked upon as an amorphous mass. The chinkis (banned by law) can be called names, treated with zero respect and that's apparently fine. In a country where rape cases are more rampant by the day, Shoojit and Aniruddha take us through the dynamics of consent. There is a strange hypocrisy at play with that. It is apparently necessary to get a lady's nod but a sex worker's yes' isn't a concern because sex is up for sale on her bed. High time, people understand a no means a clear no.
Amidst talk of virginity and sexual modesty and all that falls under the purview of the subject, the director takes us through the lives of three harrowed women who have been shamed for their life choices and smirked upon for saying no to the inappropriate advances of men. The brash pricks have the nosy society and its outdated rules on their side but Shoojit-Aniruddha never lose sight of utopia. This hard hitting story is rooted deeply in the sharp observations of our day to day lives that the actors beautifully bring to the screen.
Amitabh Bachchan leads the pack, with his fine portrayal of a lawyer; using his deep baritone to further the impact of his script. Taapsee Pannu, Kirti Kulhari and Andrea Tariang are fascinating. Yes, those girls could be in my family or be my friends. They sell the story to you as your own.
It is a riveting courtroom drama that makes you want to stop blinking so as to not miss even a moment. We all are familiar with the incidents that could've triggered the story but Pink is a film that will be memorable for the impact it creates. Are women equal? Not even close but there is hope for change. Let's make a beginning.
We rate this film an 80% on the Pinkvilla Movie Meter.
pinkvilla. com
Originally posted by: cougarTown
brilliant reviews
after ages such out and out positive reviews for a filmwhy mods removed stickyjo movies cinema se utar gayi hain unke review threads hai aur jo kal lag rahi hai uska nai 😕
Originally posted by: cougarTown
brilliant reviews
after ages such out and out positive reviews for a filmwhy mods removed stickyjo movies cinema se utar gayi hain unke review threads hai aur jo kal lag rahi hai uska nai 😕
How do we judge a woman's character? By the length of her skirt? The time she steps out or comes back home? Her profession? Colour of her lipstick? By the number of "guy friends" she has? Her choice of beverage?
"Refined" bigots of our country would say - of course, all of the above.
Most of us who get judged day in and day out on these parameters would nod our heads in agreement too... after all, we have all grown up on and made to succumb to the philosophy akeli ladki toh khuli tijori ki tarhan hoti hai!
Pink is made up of all this. The daily, regular, everyday kind of bigotry, misogyny and patriarchy that we have internalised which make us accept all this unquestioningly. And then, with great pleasure, cuts these prejudices and biases to shreds!
For a story like this, Delhi is the perfect setting. As the rape capital of our country we understand a thing or two about women's safety... ab aisi ladkiyon ke saath, aisa hi hoga.
Three girls, sharing a house in a posh south Delhi locality, get embroiled in a dangerous mess. The real incident isn't revealed to us till the very end, what we get are some blurbs and sound bytes.
The girls complain that the men forced themselves on them. Neighbours tell us that the girls frequently have male visitors. The men say the girls were drinking and having a great time. The prosecution lawyer says the very rules made to protect women are now being misused by women to blackmail "decent" men.
One man shouts: "Ladki ko uski aukat batani padti hai."
Much like what generally happens when a molestation case is registered, hearsay and an autopsy of the "fallen" girl's character is conducted. This is what makesPink irresistible. It leaves us a deep scarlet shade of anger, because it all seems so damn real!
As we try and piece together the events of the fateful night when the three girls meet the boys at a rock concert and how things could possibly have wound up here, there are times when we even forget to blink. Pink sucks you in and stays with you long after it's over.
Minal, Falak and Andrea are the most real' girls we have seen in a Bollywood film in a long, long time. They aren't caricatures. They don't have unending reserves of strength and bravado. These are girls who get angry, scared, nervous, cry and howl and are alive to every prick of the needle. Taapsee Pannu, Kirti Kulhari and Andrea Tariang translate these emotions exquisitely on screen.
And then this film gets exactly what it needs; a thrilling court room sequence with Amitabh Bachchan playing Deepak Sehgall, a maverick defence lawyer. The prosecution lawyer (Piyush Mishra) leaves no stone unturned as he casually lets his sexism come to the fore. His client Rajveer (Angad Bedi) is a decent man led on by the "giri hui ladkiyan", he shouts.
Amitabh Bachchan's booming voice fills the proceedings, lacing his arguments with just the right amount of sarcasm as he makes mincemeat of the bigots, tearing into one misogynistic claim at a time. Earlier in Shoojit Sircar's Piku and now in his latest venture as producer, Amitabh Bachchan is, quite frankly, a treat to watch!
Big B's buoyant performance, aided by Ritesh Shah's sharp writing, chews into the malicious chauvinism. Director Aniruddha Roy Chowdhury never loses his grip through the narrative and the extra layer of intrigue becomes more effective thanks to the taut editing by Bodhaditya Banerjee. Pink is quintessentially baar baar dekho!
If there is one film you watch this whole year, make sure it is this!
5 QUINTS out of 5.
The yellow, jaundiced view of our hypocritical society needs just this shade of Pink!
https://www.thequint.com/entertainment/2016/09/15/a-must-watch-jaundiced-society-needs-just-this-shade-of-pink-amitabh-bachchan-tapsee-pannu-bollywood
This week will see the clash of Pink and Raaz Reboot which are bot low- medium budget films with the former having Amitabh Bachchan as the face and the latter having Emraan Hashmi. The last Raaz film released three years back in 2012 opened to a 10 crore nett plus first day and the first Raaz film in 2002 is probably the only blockbuster horror film backed by super hit music. It grossed 21.50 crore nett back then which equates to a 119 crore nett adjusted total today. The franchise is solid but Raaz Reboot does not seem to have taken advantage as the promos are short of horror which the audience wants from the film. This could be due to the tough stance that the censor board takes but the theatrical just did not have what the audience will expect from the Raaz brand after a Super Hit like Raaz 3.
It should not really be a clash if the Raaz franchise was in play as it would be one horse race against a film like Pink but as it looks Raaz Reboot will not take the initial that the franchise should and this puts Pink in the game from Friday evening onward. This is because the horror genre depends on the initial and its very unlikely it can show big growth on Saturday and Sunday while Pink is that Saturday for film for high multiplexes.
Pink is that five city cinema following the likes of Wazir, Fitoor, Neerja, Kapoor & Sons, Ki & Ka, TE3N and Baar Baar Dekho among others. Some work and some don't according to the budget and how strong is the reception in the five cities but eventually footfalls don't really happen for these films and that reflects in the disaster television ratings leaving them with a lifespan of how many weeks they can last in the theatres.
The minor plus with Pink is that it is that five city film and not four as Kolkata has recently started to reject this city cinema also especially the ones which go towards comedy. But that won't happen with Pink as Kolkata is likely to be best and here it could give Raaz Reboot a run even on Friday.
Pink, starring Amitabh Bachchan and Taapsee Pannu in the lead roles, addresses the issue of patriarchal, condescending attitude towards independent women and stigmatising them in 21st century India. Here's our Pink movie review.
Cast: Amitabh Bachchan, Taapsee Pannu, Kirti Kulhari, Angad Bedi, Andrea Tariang, Piyush Mishra
Direction: Aniruddha Roy Chowdhury
Ratings: 
(4/5)
ALSO READ: Before Pink, 5 Hindi courtroom dramas you must watch
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OPINION: A look at Amitabh Bachchan, Bollywood's most high profile character actor
Pink, the new Amitabh Bachchan film, is a lot like Deepak Sehgal, Amitabh Bachchan's character in the film. Mr Sehgal, a lawyer, inside the courtroom, is all theatrics and showmanship - growling one minute, silent and mumbling the next. Mr Sehgal knows that Indians, particularly, the Indian man, has a hard time understanding Indian women the moment the latter do not fit into the feudal expectations set upon them. Screenwriter Ritesh Shah and director Aniruddha Roy Chowdhury know that as well. Hence, they have made a film which drives home the point with OTT sound and fury, just the way Mr Sehgal likes to conduct business; break open the Indian skull with a sledgehammer and drill into it basic concepts of human dignity, respect and honour because achchhe din is a long time coming for women in India. And while doing such social service, Pink, like Mr Sehgal, is never for a second, boring.
The story revolves around Minal (Taapsee Pannu), Falak (Kirti Kulhari) and Andrea (Andrea Tariang) - three young working women based in Delhi. A bad twist of events involving a few young men with powerful political ties has them caught in a web of social stigma, law-and-order problem leading to an arrest and finally a showdown in the courtroom.
Pink, like Madaari, also written by Ritesh Shah, is a film that has the trappings of a thriller to keep the audience guessing about the outcome every minute, while simultaneously engaging them in a conversation about contemporary society. Pink is about the patriarchal mindset which looks at independent women capable of making the same choices as independent, enfranchised men, as 'loose' or 'characterless'.
The screenplay is among the best-written ones of 2016 so far (even though that list isn't long). It is taut, does not beat around the bush and waste time in exposition; for instance, one could easily fall into the trap of 'explaining' where Mr Sehgal's angst is coming from or sketch the 'Girl-from-the-North-East' character Andrea with more detail, but all of that would only make the film longer than necessary.
When you have a great script along with actors like Amitabh Bachchan, Piyush Mishra, Dhritiman Chattejee plus competent young performers like Taapsee and Kirti, you already have a winner in your hands. As such, Aniruddha Roy Chowdhury, whose Bengali films had a rather sombre, poetic, deliberate aesthetic, does not get to show much directorial flourish in Pink.
A very interesting thing about Pink is how the film holds back the details of the aforementioned 'bad twist of events' up until the beginning of the second half, which is essentially the courtroom part, where everything falls into place. Therefore, the audience is put in the same position as that of the judge, who has no prior information on the plaintiff or the defendant to form an opinion.
As for the performances, Mr Sehgal's role is a cakewalk for Amitabh Bachchan. Piyush Mishra's acting has become very predictable and his turn as the slimy lawyer here too delivers no surprises. Taapsee Pannu is excellent, but more so is Kirti Kulhari. It is refreshing to see her in a strong, demanding role after a promising performance in 2011's Shaitaan. And last but not the least, Angad Bedi. Bedi, as the spoiled son of a politician, rages and froths with hyper-virile masculinity and institutional entitlement. He is a treat to watch.
However, as much as Pink pushes the envelope in Indian films in regard to discussion around morality, women's freedom of choice, etc., one can see Amitabh, the grand old patriarch of Hindi cinema, playing the sole voice of women's rights as regressive. But if not Amitabh, then who? Can one think of a more commanding voice and a more assertive personality than Amitabh Bachchan in Hindi cinema today, regardless of how many 'women-centric' films Kangana Ranaut has done? Pink is a giant leap, sure, but it can only leap so far. Keeping Pink as a starting point, future writer-directors should build on the foundation established by it to make more brave, more daring films on women's issues, where one day, not Amitabh Bachchan, but a woman can stand up and speak for herself and everyone will listen.
Amitabh Bachchan movie Pink has been in the news for its important subject of women's safety and the film delivers the message very well, without being too dramatic. The courtroom drama has excellent performances by Amitabh Bachchan, Taapsee Pannu, Kirti Kulhari, Andrea Tariang, Angad Bedi, Dhritiman Chatterjee and Piyush Mishra. The Shoojit Sircar film is not likely to be watched by many families together who have young kids because of its bold subject of sexual abuse. But ideally it's a film that should be watched by young kids and especially teenage boys in how not to treat a woman.
Pink is a suspenseful courtroom drama, as are all courtroom dramas because we don't know what the verdict is gonna be and what actually happened. Pink will instantly remind you of the Delhi gang-rape incident of December 16, 2012, that shook the nation, After the incident that was fatal for the victim, many more rape and sexual abuse cases have begun to be reported to the police. Sadly, some culprits have also been inspired' to indulge in similar crimes with women, little girls and boys and even babies! What has happened to our nation? Amitabh Bachchan as lawyer Deepak Sehgal in Pink draws a conclusion to this effect - that it is our boys who need to be saved from women who wear skirts, jeans, tops and drink'. Of course, he says that sarcastically, What he means is the men need to be educated and conditioned to respect women and understand that her no means NO! Clothing, drinking, smoking or even her smile or casual touch DO NOT mean that she is available!
Story of Pink
Pink begins with a fight scene and a group of boys with their leader Rajvir (Angad Bedi), a politician's nephew, being taken to hospital in Delhi. Young working girls Minal Arora (Taapsee Pannu), Falak Ali (Kirti Kulhari) and Andrea (Andrea Tariang) are running helter skelter and worried. It is not clear what has happened. The girls complain to the police about the sexual abuse they have faced at the hands of the men at a resort in Surajkund. But a case is filed against the girls instead at Surajkund police station, and especially against Minal for attempt to murder, as Rajvir has injuries on his head with stitches. More fake and serious charges like prostitution are stamped on the women, and teasing on social media follows for Falak.
Minal is in police custody and has no way out. Their neighbour, lawyer Deepak Sehgal played by Amitabh Bachchan, helps the girls in the nick of time. He is suffering from bipolar disorder and has a wife on deathbed in hospital. He has quit practicing law because of his ill health. But seeing the plight of the girls, and also because he has seen Minal being kidnapped by the men in a car in the park, he takes it upon himself to get back into his profession. Will Deepak Sehgal manage to win the case against the powerful men?
Performances
Thespian Amitabh Bachchan delivers as always in a powerful role. As Deepak Sehgal, he does not play to the gallery, as is the case in many courtroom dramas. Instead, his face is kind and sensitive to the situation and the girls' dilemma at all times. As the aged, indisposed, lonely, angry but kind lawyer, Big B not once doubts the women. He can sense their innocence and also because he has seen Minal being picked up in a car by force.
Taapsee Pannu, Kirti Kulhari, Andrea Tariang, Angad Bedi, Piyush Mishra (Rajvir's lawyer / prosecutor), Dhritiman Chatterjee (Judge) and other supporting cast members excel in the act in the very pragmatic film on sensitive issues.
What's hot
Pink has a good amount of suspense, built right from the beginning. The film does not play out the abuse scenes in a voyeuristic way but actually makes you cringe, which is good. A far cry from Bollywood movies of the 1970s and '80s where rape scenes were used for entertainment in masala flicks. Just like Udta Punjab thankfully did not show Alia Bhatt's character's rape in order to titillate, so does Pink - it refrains from making a mockery of the sexual abuse, as often happens in such films.
As mentioned earlier, the performances are good making the film gripping to watch. The film's locations look authentic too, like in every Shoojit Sircar film. Pink is not overly realistic, it's just real. It brings forth some extremely important issues regarding women's safety.
The film's music, direction and editing are superlative. (Scroll down for verdict and rating)
What's not
Why was Minal Arora quiet in court about the second time she was assaulted in a moving car with tinted windows? Why was Deepak Sehgal quiet when he had seen her being kidnapped for some time and even saw her return in a dishevelled state? Was that scene put in by director Aniruddha Roy Chowdhury purely for the Nirbhaya effect? Even the thought of this makes one feel sick!
Another important point is that the parents or family of the girls and especially Minal are not really involved in the court case and that seems a little weird in the Indian scenario. However modern they may be, in a normal situation at least one of these girls may have been taken home for good and grounded, and probably married off sooner than later!
Also, fighting such cases against powerful people like politicians in the capital may not always have an ending desired by the victim. As we know, in most such cases, it's an uphill task to overcome the power and prejudice. It has been shown as relatively easy in Pink, we feel.
Verdict
Even with its drawbacks, we recommend you watch Pink. It is not too realistic and does not go the Madhur Bhandarkar way in showing every little detail and predictable reaction. Neither does it go the Damini way in drama, although the Rajkumar Santoshi film had set a benchmark for socially relevant commercial cinema. Pink is a powerful film that may well hammer in the message once and for all - a girl's clothing or mannerisms, or her habits such as drinking are in no way an indicator that she is available! More importantly, when she says NO, it means a definite NO. Do not attempt to touch her without consent, even if she is your wife or girlfriend or even a sex worker. This film should be watched by men for sure.
Rating: 4/5.
https://www.youtube.com/watch?v=PNCwT6ikotI
Some of mine... The cadbury ones: Disha looks uber cute in the first one https://www.youtube.com/watch?v=8P9PP3HpD2o And I like this one with...
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