I haven’t blogged for a while this year but
sometimes along comes a movie that demands a blog and #Pink is one such movie.
Those who know my writing, or the Bollywood
shows I presented on radio or TV in days gone by, will know that I have always been
an advocate of meaningful cinema as it is such a powerful medium that it leaves
an indelible impression.
Cinema may not change the world but it has
the ability to alter perceptions provided the viewer is open to the notion.
Images do that.
And this film makes a very powerful and
lasting impression.
#Pink is not a time pass movie. Or one that
dabbles in artificial Bollywood glamour. It’s also not a feminist film. It’s an
adult subject, that exposes a side of society that is well masked, a side that when it does show its face does not realize how deplorable it is, a side that is steeped in
blatant double standards when dealing especially with women.
#Pink is a film about prejudice and
bullying.
About dismantling stereotypes because
unless those stereotypes are acknowledged, and awareness for such deplorable
behaviour is created, it will continue to be perpetuated.
And ultimately as #Pink goes about seeking
redemption for its protagonists, it challenges its audience to rethink the way
we exist.
By challenging the norm, #Pink suggests the
norm is abnormal. That for a woman to achieve anything is doubly harder than it
is for men. The fact that it takes a man (Amitabh Bachchan) to bring this point across
is not ideal, but this is cinema without a star like him would the message of
this film been received as broadly as it has? Would men go and see it? I’m not sure and in time I hope that such notions too will change but that said, such a distinction itself is sexist and if anything #Pink tries to get away from such stereotypical behaviour.
Men should see it to reflect on it. Women
should see it to understand their rights.
Every adult should make a point of
seeing it to know and understand where the line is drawn in any relationship, be it serious or
frivolous.
#Pink won’t change the world, but if it is
able to alter perceptions and enter into our consciousness (as it has mine),
then it would have achieved something.
Set in suburban Delhi, #Pink deals with
three young women trying to put a bad incident involving some guys that they
met at a party after a rock concert behind them. But the guys are hell bent on revenge and
won’t let the incident pass so easily, and the only way for the women to stave
them off is to turn to the law.
Indian law (in this instance the police more
than the actual legal system) is notorious for being under the control of
certain influential people so what starts out as the women seeking help, ends
up with them being charged for soliciting. And through their battle to clear
their names a case that addresses the ills of modern society is made.
“No” means No is the obvious point it makes but how it gets to it, is what makes it so riveting. And there are
multiple aspects, the abuse of the legal system is juxtaposed with a clear
explanation as to how the legal system can actually provide a positive outcome
as long as individuals know and exercise their rights, and I suppose the reality too is that wherever corruption is rife, one needs a lawyer courageous enough to fight the system for those rights. #Pink speaks of consent and that anything outside of it is an act of violence.
This tweet below by Ketan Nardhani highlights
some of the powerful legal arguments it makes:
“Unflimy” is the best way to describe the
acting especially from the three leads Taapsee Pannu (Minal), Kirti Kulhari
(Falak) and Andrea Tariang (Andrea). They exude fear where the script demands,
show strength where it is required and display vulnerability where it is
needed. It all feels so natural that it seems pretty effortless but must have
taken hours of rehearsals to get the nuances right. Taapsee cut her teeth in
Telegu and Tamil cinema, her first foray into Hindi cinema came via Chashme
Baddoor in 2013 and she also featured in the Akshay Kumar starrer Baby, I hope
that after this we’ll be seeing a lot more of her. She essays a very demanding
role very convincingly.
And then there is Amitabh Bachchan, and it
pleases me no end that this icon of Indian cinema continues to land such well
written roles, his court room scenes are out of this world, and that climax sequence is going to become one of those scenes that people will remember and
recite by heart as fondly as we remember that classic Deewar dialogue “Mere Paas bangla
hai, motor hai gaadi hai, tumhare paas kya hai”?
For him #Pink is the new #Black (Sanjay Leela Bhansali's 2005 movie where he played an eccentric teacher)
It’s not perfect mind you, in fact some of
Bachchan’s parts are overly theatrical, his mask for instance – worn to avoid
the Delhi smog and his leering behaviour are red herrings to the proceedings, thrown in for effect that might have been avoided but the overall performance is magnificent, an actor
whose prime just seems to keep extending, and long may it do so.
#Pink's story may belong to Shoojit Sarkar who
also produced it, but its telling lies in the hands of director Aniruddha Roy
Chowdhury who instills it with a certain vulnerability and strength that I doubt
any male director would have.
Movies like #Pink are rarities in Bollywood. They shouldn’t be the norm but when they come around they should be lauded for utilizing the incredible power of cinema, to convey a powerful message.
I'm not rating #Pink, such movies need no ratings, as long as their message resides in the back of our consciousness and alters our perceptions, they have rated highly enough...