‘Pink’ Movie Review: A gripping drama on consensual sex

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Source: Times Music | YouTube

Pink is one of the greatest courtroom dramas that you will ever see. It is focussed and heartrending.

You know how it is” says a male office boss with a sorry look. “Yes, I do know how it is” replies a crestfallen and shocked Falak (Such a brilliant performance by Kirti Kulhari in this role). A fake, indecent photo of hers has been doing the rounds in the whole office. She has felt greatly humiliated by this as she never did any of this sort in the first place. The scene showed how painful it is for a woman when she is wrongly accused. Pink is Director Aniruddha Roy Chowdhury’s answer to misconceptions that a lot of men have vis-à-vis women. The film is a masterpiece which shows what a woman goes through when she is harassed, molested, sexually assaulted, and is forced to accept the cruel world without raising questions. 

Pink is one of the greatest courtroom dramas that you will ever see. It is focussed and heartrending. It sarcastically explains women’s safety manual that has instructions on the Dos and Don’ts for the women so that men don’t get the false idea of their consent for sex. It’s Deepak Sehgal (A spellbinding performance from Amitabh Bachchan for this character), a lawyer, through which the film presents its case and that too with such perfection (Not to forget the arresting act by Piyush Mishra who plays a lawyer as well in this film). The film shows you how Deepak defends the case for three women – Minal (Taapsee Pannu’s fantastic act for this character makes you really feel the agony), Andrea (herself), and Falak – on whom the complaint has been filed stating that they solicited some men and ended up causing grave injury to one of them (The soliciting part is so tremendously portrayed that it hurts you to see these women being shown in a wrong light).

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Source: Times Music | YouTube

The film highlights a male chauvinist society where women are made the scapegoat in a lot of problems. (Falak’s unsympathetic boyfriend presumes that Minal is a girl of questionable character. In response, Falak, with utter sadness, says that she hoped to receive some warmth from him and not advice.) The film shows that there are men who still consider women as weaker sex (A guy, in a cafeteria, says to Falak, “Tum vaise bhi ladki ho” (You are anyway a woman)). It also hurts you when Pink makes you realise that even a “natural human behaviour” of women is perceived wrongly by some men. Or, even her choice of living with her friends and not with family is put under the scanner.

But again it goes without saying that this world is also replete with good people. There are male characters in the film who stand as a pillar of support to these women in times of distress. Andrea’s boyfriend comforts her and applauds her for being “brave”. The landlord Kasturilal (Vinod Nagpal) remains supportive to these women and never doubts them.

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Source: Times Music | YouTube

With so many different layers in the film, you never actually get to see the sexual assault incident happening until the closing credits. But the incident is talked about with such intensity that just imagining it makes you feel pity for the girls who suffered. The music does its trick too to match the mood of the film (Kaari Kaari song, in the composition of Shantanu Moitra, sung by Qurat-ul-Ain Balouch, comes twice in the movie and blends beautifully well with the emotional scenes).

When I first watched the film back in 2016, I felt that the importance of the film and its relevance to the real-world situation was sky-high. I watched it again recently as a Tamil remake of this movie – Nerkonda Paarvai – thronged the theatres last week. Pink still felt so fresh and riveting. This story demands such a remake. It needs to be told in different languages. Pink is not just a great story on consensual sex where a simple “no” from your girlfriend, wife or even a sex-worker forbids you from having sex with them. But it is also told in a way that it engrosses you, thrills you and astonishes you all at the same time.

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‘Mission Mangal’ Movie Review: A fantastic tribute to India’s first-ever Mars mission where dreams became a reality

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Mission Mangal does justice to one of the most influential and eye-opening achievements in the history of space research.

Rakesh Dhawan (Akshay Kumar) and Tara Shinde (Vidya Balan), the lead scientists supervising India’s historic Mars mission, have taken inspiration from home science, managed to get the necessary approvals and the resources, and incorporated everything in the rocket science that they know so well. Mission Mangal (Mission Mars) is Director Jagan Shakti’s ambitious and meticulously written project that not just feels sweet but also tastes bitter. Jagan knows that we are apprehensive of the fact that the success of Mangalyaan (Mars Orbiter Mission) drawn accolades from the entire globe and we may have doubts whether the film will resort to more of glorification than the struggles. Jagan makes sure that Mission Mangal is not that sort of a film. He lends it an equal share of both the moments where we don’t just feel dejected by the failures, embarrassments and difficulties but also feel proud and rejoice over the triumphs.

There is ‘hope’ in the background music (composed by Amit Trivedi) as it perfectly enhances the spirit of being alive in the mission. You feel astonished by the intelligence of the scientists in whom, amidst every other obstacle, sparks innovative ideas while cooking Puri or looking at people protesting against plastic dumps in the ocean or even while staring at a picture of sailing craft on a throw pillow. When you think about India and its space programs, the very first name that may come to your mind is Dr. A. P. J. Abdul Kalam. The film does honour him. And when it does, it may give you goosebumps. Even the close shots of the rocket when it is being set up on the launch site or smoke engulfing a part of it or the hopeful faces of scientists were so brilliantly shown (All credits to the cinematographer Ravi Varman).

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Source: Fox Star Hindi | YouTube

Akshay gives the mixture of seriousness, staying-calm-under-pressure and mirthfulness to Rakesh’s character. But it’s the hilarity that works so well. In a humorous scene, he calmly enters inside a poorly maintained building, calls it Mars, finds the availability of little water and even claims the presence of life. He even asks a guy to place a television over his head. And when a guy asks Rakesh if this is Mars department, he says, “Hum bhi yahi soch ke khade hain” (We are also standing here thinking the same). Also watch out for Akshay’s Tamil-language speaking skills in the film.

The women in this movie always take the centre stage and are as much an important part of the film as the real women scientists were for the success of this Mars mission (You also have to appreciate the wonderful ensemble cast with each of them raising the bar higher when it comes to performance). You are also not alien to the personal lives of these characters. You do care about them. Outside of this mission, they have their own problems to take care of. You root for Eka Gandhi (Sonakshi Sinha) and her colleague Parmeshwar (Sharman Joshi) to be together. Tara’s amazing calmness while managing her husband, son and daughter speak volumes of Vidya Balan’s stupendous act. The sadness and disappointment in Varsha (Nithya Menen) are noticeable when her mother-in-law angrily scolds her for not getting pregnant. The driving lessons taken by Kritika (Taapsee Pannu) are chucklesome. You feel the agony of Neha (Kirti Kulhari) when she is denied a house for rent as she is a Muslim (While there is a work going on to find habitable planets in the space, some of us belonging to the ‘most intelligent’ species on Earth still follow a divisive design).

Of course, there is always someone who tries to close all the doors and be pessimistic about everything. There is Rupert (Dalip Tahil) in this film to do that. Dalip fantastically lends that villainous feel to this Rupert character. But the determination of Tara and a ‘change’ in the attitude of the scientists (one of the loveliest sequence where scientists realise why they chose to be in the field of science in the first place) ultimately spell the victory. Well, the film could have done without a weird fight sequence inside a train or a scientists-jovially-dancing-to-the-tune-of-a-song (Probably, the only two things that didn’t work for me). But, other than that, the film does justice to one of the most influential and eye-opening achievements in the history of space research.

‘Game Over’ Movie Review: A jaw-dropping and heart-stopping thriller

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The horrors that you get to experience in Game Over are on a whole new high. Such an arresting act by Taapsee Pannu!

Swapna (an immensely powerful performance from Taapsee Pannu for the protagonist) is sharing her experience of fear and breathlessness, that she had inside a dark room, to a Doctor. While she does so, the camera steadily, slowly and quietly enters the room moving from right to left. In another scene, on the outside, Kalamma (Vinodhini Vaidyanathan), Swapna’s caretaker, can be seen from the window grills to be hanging the clothes out to dry. The camera, which is inside the room, leisurely moves towards the window producing an eerie feeling out of normal activity. And, in another instance, a close shot captures the lighting of a thick candle. Then there’s a slow-motion sequence in black-and-white where Swapna looks jovial while getting inked. During this, there’s a close shot of ink being dropped in a glass of water that gets slowly spread around and mixed up. Sometimes, inside a dimly-lit room, the camera cautiously moves towards a door creating a strange feeling. You also listen to the creak of a swing chair, as the camera ploddingly goes towards it, outside the house.

A. Vasanth’s cinematography is the very first thing that stands out as the film gives you glimpses of different elements of the story. Perhaps this is not anywhere close to the brilliant camera work of Alfonso Cuarón’s Roma. But it is definitely among the greatest works in Indian cinema. It just presented Director Ashwin Saravanan’s Game Over in a different light altogether. Of course, Ashwin’s vision is a big factor too. It’s not just the stupendous camera work that excites you but also how important these detailed shots turn out to be as the movie progresses.

The core of the narrative in Game Over is about incidents of some unknown men taking videos of women while torturing them, beheading them and then burning their headless body. One of those women in the film, who ends up being the target of these men, is Swapna. The film does not dwell too much on this character’s life. We take a gander at her past life where she is seen to have been kept in captivity inside a dark room and being tortured. This agonising incident is etched in her memory so much so that she finds herself in a state of terrible uneasiness when she encounters darkness inside a room. The tattoo, that she has on one of her forearms, resembling a video game controller, as she is a game freak, turn out to be a memorial tattoo that contains the ashes of a dead woman. Towards the intermission, the film can make you feel a bit of restlessness as Swapna’s fear of dark room and being a victim of torture (that never gets elaborated but only shown briefly) may seem repetitive and dragged a little. Even the tattoo is used as something that can add sentimental value to the film (The dead woman’s mother comes to see Swapna and have a feel of the memorial tattoo as it contains ashes of her daughter but it doesn’t move you because the focus was never really on building the story of this dead woman character).

Ashwin decides to finish off the first half of the movie with a message on the screen that says, “Game On”. Well, it literally means ‘What if life is a game’ (You will understand why when you see it). It’s the post-interval part that keeps you on the edge of the seat with your eyes popping out and mouth wide open in fearfulness. Every detailed camera shot that you saw in the first half will start finding meaning in the second half. There’s a headless body sitting in the swing chair. The head cut off from the body is thrown at the window. Swapna’s fear of darkness comes to the fore and this time with even more intensity. Men, all covered up in a black outfit, carrying daggers, don’t just sit on the couch and give a villainous look but also slit the throat instantly. The thick candle shown earlier comes into play as well as it, along with a flammable oil, is used for setting fire on one of these men and burn them.

The amazing music by Ron Ethan Yohann gives a boost to thrilling sequences in the film. The film is, one might say, India’s answer to Jordon Peele’s Get Out. The horrors that you get to experience in Game Over is on a whole new high, just like Get Out, but it also comes at a price. Like Get Out, amidst the shockers and thrillers, you may feel some of the elements not fully developed and left half-baked. But you won’t be thinking about all that after such an arresting act by Taapsee Pannu and heart-stopping experience that you get while watching this film.

Badla Movie Review: Bogged down by predictability

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Badla is not the sort of movie that would keep you on the edge of the seat that it intends to.

Arjun (Tony Luke) frantically washes off the blood from his hand and comes out of the washroom. He takes a close look at the framed photos on the wall. One of the photos displays the poster of arguably the greatest drama of all time – Sydney Lumet’s 12 Angry Men. When it comes to figuring out the best movies that form conjectures on how crime would have taken place, 12 Angry Men sits right on top of my list. I have no idea if this photo was deliberately included by Director Sujoy Ghosh. But you do get a flavour of that iconic film in Ghosh’s latest venture.

Thankfully I did not watch Contratiempo / The Invisible Guest (Badla is a remake of this film). Badla is a sort of a movie where you want to be knowing nothing about the story as it would be extremely difficult to get through this film if you have already seen the original. But even without knowing the significant twists and turns in the plot, I had already predicted the culprit in the very beginning.

“Justice is blind”, utters Badal Gupta (Amitabh Bachchan is terrific in this character as he has been for decades). He, further, says in one of the scenes, “jo saabit ho sake vahi sach hai” (Truth is what can be proved). He has been hired as the attorney for defending the case of murder. Naina Sethi (Taapsee Pannu renders a magnificent performance for this role which emulates that of Amitabh Bachchan), who claims to have been framed as the accused in this murder, recounts what ‘exactly’ transpired that led to the killing of the son of Rani (Amrita Singh) and Nirmal (Tanveer Ghani) and also that of Naina’s boyfriend Arjun. Badla, which means revenge, involves how Naina builds a story from her vantage point to prove her innocence and how she intends to make everyone believe that framing her as the accused was an act of revenge.

Badla does not portray an intricate story. Primarily it only focuses on two incidents. This became problematic as the narrative continuously harks back to the same set of events and even as little things get revealed every time those same set of events are revisited, they did not really contain any major surprise element. The engrossing interrogation that ensues early on when Badal Gupta, with a constant smile on his face, asks Naina to tell nothing but the truth, acts as a great premise. But it is bogged down by the predictability. But even though I had already prefixed my mind on who the real culprit is, the writing of the film is so well-crafted that accompanies different conjectures, as Badal Gupta surmises what might have happened on the basis of Naina’s account, it did make me wonder if I am right regarding my prediction.

I found the second half of the movie to be more impressive, especially towards the end, as Badal Gupta dives deeper into the “baarikiyaan” (details) of the story narrated by Naina. Amidst the seriousness during the conversation between Badal and Naina, there were little things that might go unnoticed, as they were not the point of focus, but were a great addition (Initially Badal keeps referring Naina, who is his client, by “you”. When he calls her by her name for the first time during the conversation, he justifies that his daughter is of the same age as Naina that made him call so. In another instance, while seriously discussing with her, he adroitly says that he won’t mind a cup of coffee). Badla is not a bad movie. But it is just not the sort of movie that would keep you on the edge of the seat that it intends to.