“The premise of three girls and their fight for justice gets intense as you peel the layers and questions our self-anointed custodians of morality — the DOs and DON’Ts for women in this country.”
When I first learned about PINK
, I said to myself, “Aah! there you go….another male bashing film. Thus, generalizing Indian men as insensitive and brats.” Well, at least that’s what was my initial reactions when I watched Angry Indian Goddesses
Cut to PINK
— A New Movie. A New Director. A New Story. PINK
is a courtroom drama, that revolves around one night that went extremely wrong for six people — growling one minute, silent and mumbling the next.
PINK highlights the Indian society where Indian men finds it hard to understand women where the latter finds it difficult to fit into the feudal expectations set upon them. The movie completely colours the movie in pink with a tinge of black, where it talks about the patriarchal mindset which looks at independent women capable of making the same choices as independent, enfranchised men, as ‘loose’ or ‘characterless.’
The compelling portrayal of system complicit with the influencial in badgering the innocent is something that we come across everyday.
Anyway coming back to reel world, as a stroke of cinematic brilliance, PINK as a movie demonstrates a smart style of storytelling where, we never actually see the incident that sparks off the chain of events in this film (not until the end credits).
An arresting first half, this courtroom drama feels conventional. An electric ensemble, Tapsee Pannu, Kirti Kulhari and Andrea Tariang give unwavering voice to the girls’ struggles; Amitabh Bachchan brings his moral authority to bear as their sole legal ally. Trigger warnings may be obligatory, but that’s testimony to how close the film gets to uncomfortable truths – and how well those have been shaped into this progressive, provocative, powerful statement.
The premise of three girls and their fight for justice gets intense as you peel the layers and questions our self-anointed custodians of morality — the DOs and DON’Ts for women in this country.
Piyush Mishra and Amitabh Bachchan as lawyers and their questioning and cross-questioning of the witnesses make for a compelling watch. While Piyush Mishra as the prosecutor gets under your skin and at times his questions makes you feel uncomfortable as well as angry. Amitabh Bachchan on the other hand plays the role of retired ace lawyer Deepak Sehgal who decides to fight the case on behalf of Meenal (the main accuse, Tapasee), Falak (Kirti Kulhari) and Andrea (Andrea Tariang).
Along with the main characters, the unsympathetic female cop who comes on screen for a brief 15mins, seriously leaves her mark as an actor.
Angan Bedi is another one to watch out for those cold & brutal eyes.
Camera work by Avik Mukhopadhyay deserves a special mention here. He very subtly establishes the underline meaning of the script. His camera speaks volume in itself, especially in the second-half where the courtroom drama picks up…his camera work brings a sense of calmness to the eyes.
The writing, by Ritesh Shah continues his stroke of excellence from Madaari and the performances of the actors consistently and aptly supports his lines. The last monologue of Amitabh Bachchan as the closing remarks of the case summarizes the entire Indian society and tries to sensitize many by highlighting the fact that single women, who are friendly, shares a drink or two are not promiscuous. A “NO” is a NO! It all boil downs to a woman’s choice and consent.
Overall, PINK smoothly packs multiple debates into a single compact film. Director Aniruddha Roy Chowdhury seems to be clear in his head with his approach and unlike his Bengali films which had a rather sombre, poetic, deliberate aesthetic doesn’t reflect the same here in PINK. The air of tension he builds around the three women is almost palpable.
is a strong, contemporary youth-centric film that pushes the envelop and invites women to stand up and speak for themselves.
RATINGS: * * * * / 5
PS: DO NOT leave the hall without listening to the poem at the end credits of the movie — they are brilliant…the powerful words summarizes the movie and demands respect for the lost art of true wordsmiths.