From Insaf Ka Tarazu to Damini to No One Killed Jessica, on every occasion when the plight of women has been imperiled through a court room drama, it has put a shrilling mirror to the society to shake consciences. Aniruddha Roy Chowdhury’s Pink adapts the modernity we looked-for and has come out with a product that does exactly that. The film that builds itself up as a sharp spank on the disturbing mindsets even in the skyscraping metros of our country, tells us what’s going wrong with us.
Pink may be disturbing, but it’s exactly what we needed!
Three young girls living in Delhi go through a rather rough night when one of them (Taapsee Pannu) is molested by a man (Angad Bedi) she had met after a rock concert. The man accompanied by two of his friends gets fatally injured when he’s hit by the victim before escaping. This propels a fight of ego, revenge and ugliness. While the ladies are made to suffer in possible domains of their life, even the police don’t respond to their complaint having found out the accused is a local MLA’s relative. They instead hold the girl responsible for attempting to murder the man after falsely implicating all three of the girls in a prostitution racket. This gets them to a retired lawyer Deepak Sehgal played by Amitabh Bachchan to seek help who eventually agrees to fight for their honor.
The following court room drama is what that drives the narrative of Pink in true sense.
The film wastes no time is setting its tension filled atmosphere through dark and edgy frames that let us know something intense is being cooked underway. While the first half mostly deals with the trauma and distressing torture of the girls, it never once goes overboard in trying to subject its opinion. Staying under a believable tone of narration, it often slaps the society with gritty and shuddering one liners that most of us may have heard in some way in our lives.
However, you almost find yourself clapping when Big B takes the center stage post interval and unleashes extremely caustic bombs one after the other that unclothes the filth prevalent in our society. “Yahan Ghadi Ka Kaanta Dekhkar Ladkiyon Ka Character Judge Kiya Jata hai” is what he says to a fella who had questioned the character of these girls only because they are regular at coming late back home. While his counters with Piyush Mishra who also plays a lawyer (and a good one at that) are largely a testament of grubby perceptions set about women in India, the arguments often make you think to the core.
On another note, there’s nothing you haven’t heard before that Mr. Bachchan puts in his opinions in the court, but Chowdhury’s victory lays in the fact that he keeps the preachy quotient in complete check. When you associate the backdrop of the story with the (already heard) lectures, it falls right in the place where you expect them to be. There’s nothing that this screenplay spares and throw a slap on. Right from forming an inferior opinion about the North East to questioning a girl’s character because she drinks, the film even brings out the hidden hypocrisy existing in the elite classes where women are not even considered equals.
Pink is dark, it is intense and often disturbing! But it makes you think, fills you with anger and at times questions the very culture you are a part of. I didn’t think there was any need to set an undercooked backstory at Big B’s end but he doesn’t let it hamper his own performance in anyway. While you may term this film as a fight between the honor of a girl and the system, the bridge in between is him and he wins you over completely. Taapsee Pannu is effective in scenes where she emotes the helplessness skulking within, however I found her being overshadowed by Kirti Kulhari in some scenes. Angad Bedi is ok but Piyush Mishra doesn’t go without delivering a strong performance yet again.
The film that has traces of Shoojit Sircar’s style of storytelling ultimately belongs to its director Aniruddha Roy Chowdhury who hasn’t succumbed to the common pressures of infusing unnecessary melodrama, going overboard with morality lectures or building a hero out of someone. The film stays real and it stays within the realm of its writing.
When was the last time you saw a film that threw a chill down your spine with the thought that one of your loved ones may experience the same? Pink does that, but more importantly explains it even better!
If we can have a better film than Pink in the remaining part of 2016, trust that things are going uphill. Pink is dark black but it’s also the best film of the year!