Movie Review Saand Ki Aankh – Director Tushar Hiranandani directs the scene of the colour coding with a very mild hand. This scene depicts the subtext – that this is life, where the incidences show what all is happening to women who do not have the right to question the status quo. Patriarchy, chauvinism and discrimination are lethal in this feudal system. The men sit around smoking hookah and treat the women as labour by day and a baby-making factory by night. I always try to bring honest and clear reviews of your much-loved movies, read more…
The plot and the story
It is set in Johri village, Uttar Pradesh in 1999, where the three wives of the Tomar men are unceasingly veiled. They are identifiable to the male citadel principally by the colour of their veils. Bimla, the eldest is red and Chandro (Bhumi Pednekar), the middle one, is blue. So when the youngest wife Prakashi (Taapsee Pannu), comes to her new home, she must choose her own colour.
When a shooting area is set up in the village, Chandro envisions a ticket for her granddaughter Shefali (Sara Arjun) and Prakashi marks a way for her daughter Seema (Pritha Bakshi) to snap out of the cycle of inequity. In doing so, older women realise their latent abilities as challenging sharpshooters. But they can do so covertly. Family patriarch Rattan Singh Tomar (Prakash Jha) rules with a cruel fist so it takes all their imagination for the 60-year-old versions to find reasons to move out of their village area to fight across India.
Movie Review Saand Ki Aankh
Prakash Jha as the idiosyncratic headman of the family is reasonable. With his mellowed and balanced acting, he makes you hate men who repress women in the name of family values and religion. Vineet Kumar Singh, like always, lives up to the expectations. He is neither too much nor too less but draws just the right expense of innocence to his role of the Shooter Dadis’ coach required. Read more, Movie Review Saand Ki Aankh.
Taapsee Pannu and Bhumi Pednekar in Saand Ki Aankh are great in Tushar Hiranandani’s Saand Ki Aankh, which discusses women empowerment in real sense. Only the tingling factor is the actresses’ prosthetics, which come across as make-up.
Cinematographer Sudhakar Reddy Yakkanti does an excellent job of apprehending the true nature of the story is set in. One special scene in which Chandro Tomar brings her granddaughter to learn shooting is brilliantly shot. The camera captures the two ladies entering the gates in the light on a motorcycle side-mirror, and then pans to show the coach in the same mirror. Director Tushar Hiranandani manages to compress out satisfactory work from his actors, in Movie Review Saand Ki Aankh.
There is a piece in me that like to tenderly imagine my maverick and seditious soul. But, precisely, I love to have a picky and cosy relationship with my soul that can rub up against a little bit, putting me alive.