Pink

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Pink
Pink
PINK is bold, mature and absolutely riveting!
Breaking all women stereotypes, PINK mocks the prevailing social conventions and patriarchal beliefs in the most mainstream way, without ever resorting to preaching. Powered by great writing and stunning performances from Bachchan and the girls, this film is perhaps the best film of 2016 yet. If you’re an adult, do not miss it, and sit till the very end as the real story unfolds in the end-credits.
As the story goes, three girls - Minal Arora (Taapsee Pannu), Falak Ali (Kirti Kulhari) and Andrea (Andrea Tariang) are staying together as tenants in a posh South Delhi locality and are normal working professionals in their respective fields. One night, after a rock concert they accept a dinner invitation from Rajveer (Angad Bedi), who is a relative of a powerful politician, and two others to a resort in Surajkund. What happens in between is a mystery but the night ends with Minal smashing a bottle on Rajveer's eye, leaving him bleeding. Using his powerful connections, Rajveer charges Minal for 'Attempt to murder' and for soliciting, where she could face imprisonment for more than 10 years, if convicted. Enter Deepak Sehgal (Amitabh Bachchan), a lawyer suffering from bipolar disorder who experiences frequent mood swings and has an ailing wife. He represents the girls in the court. What follows is a gripping courtroom drama where Deepak fights the girls' case against these influential boys.
The greatest strength of this film is its terrific writing by Ritesh Shah. Also highly appreciable is the adept treatment from director Aniruddha Roy Chowdhury. Both of them bring out a product that breaks all the age-old shackles that ail our society even in this modern India. Fearlessly crafted, the issue of women-stereotyping is handled with amazing maturity. The dialogue is crisp and relevant, the screenplay is highly engrossing and the performances are top-notch.
While the subject seems preachy and offbeat, the makers do a truly commendable job of making it fit for appreciation by an average viewer. Never does the subject’s severity weigh on the narrative. As mentioned above, it’s portrayed in the most mainstream manner possible. This is an achievement in itself, as what it means is that Indian cinema has finally come of age, where relevance can be mainstream. The bond between the girls, the hypocrisies of the society we live in and the large gap in mentalities within people staying together is displayed with utmost subtlety.
The mysteriously thrilling first half provides a great build up for the immensely absorbing court drama in the second half. This makes for great entertainment, all while enriching you as a viewer. Each scene is well thought-of and great editing makes sure nothing irrelevant is inserted just for the sake of it or to play it to the gallery. The content itself is meaty enough to bind your attentions that resorting to theatrics isn’t required. The background score follows the mood and so do the songs. The visual setting seems just right.
The performances are key in such a film, as is the case with most films with good content. Amitabh Bachchan has proved time and again why he is considered an institution. His rare combination of popularity and talent is magnetic. The composure in his act is something only he can pull off. He raises his voice for a reason and each word he speaks has an impact. Such is the power of the megastar. The praises could go on, but nothing is what hasn’t been said before. He truly is exemplary. The girls, Taapsee Pannu, Kirti Kulhari and Andrea Tariang, are great. Taapsee and Kirti get a chance to show their maximal range and they come out in flying colours, especially in the court scenes where situations get embarrassing. They’re bang on each time. Piyush Mishra as the prosecution lawyer is so good that he makes sure you hate him. The rest of the cast is consistently adequate.
In all, PINK is a giant leap forward in Indian cinema, all with the entertainment quotient intact. Go for it, you’ll come out enriched!

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