Saand Ki Aankh Review: The movie has hit the bull’s eye

Saand ki Aankh review

IMDB Rating: 8.9 out of 10

Koimoi Rating: 2.5/5 Stars (Two and a half stars)

Genre: Biopic

Duration: 2 hours 26 minutes (146 minutes)

Saand Ki Aankh release date: 25th October 2019

Saand Ki Aankh cast: Taapsee Pannu, Bhumi Pednekar, Prakash Jha, Viineet Kumar Singh, Sara Arjun

Director: Tushar Hiranandani

Producer: Anurag Kashyap, Reliance Entertainment, and Nidhi Parmar

Editor: Devendra Murdeshwar

Cinematography: Sudhakar Reddy Yakkanti

Music Director: Advait Nemlekar

The story is based on the three wives of the Tomar men who are perpetually veiled in a backward and typical Johri village, Uttar Pradesh, in 1999. Patriarchy, male chauvinism, and prejudice are inherent in this archaic family. The women are identified to the male fortress fundamentally by the color of their veils. Bimla, the eldest, is red, and Chandro (Bhumi Pednekar), the middle one, is blue. Consequently, when the youngest wife, Prakashi (Taapsee Pannu), arrives at her new homestead, she is obligated to pick her own color.

Tushar Hiranandani addresses the scene of the color coding with great adept. The scene illuminates the subtext of the movie. It is the representation of submissive female existence, befalling upon all the women who do not hold the freedom to challenge the status quo. The men hunker about smoking hookah and use the women as laborers in the household, field, and in the brick kilns by day and a baby-producing factory by nightfall.

Meanwhile, a shooting range is started in the village; Chandro envisions a ticket for her granddaughter Shefali (Sara Arjun), and Prakashi perceives a direction for her daughter Seema (Pritha Bakshi) to snap out of the circle of inequity. In executing so, older women realize their own potential capabilities as impressive sharpshooters. However, they can do so only covertly. Family patriarch Rattan Singh Tomar (Prakash Jha) dictates with an iron grip, so it takes all their resourcefulness for the 60-year-old versions to find tricks to travel out of their village to compete across India as the men in the household are still vehemently opposed to accepting the talent of their women.

Saand Ki Aankh review states that it is an unyielding women-centric film made by a team fashioned predominantly of men. However, that is not the only rationale why it is a piece of wonder. More remarkably, it confers up overheated Bollywood melodramas about women combating gender bias as well as inflated biopics that solicit to commemorate female pattern breakers.

Certainly, Saand Ki Aankh is a typical underdog production. It isn’t the usual insinuated sports film you have ever witnessed, nor is it the ordinary crisply sculptured. Parts of the film could have been promptly performed away with, without impairing the influence of its substance and message. Nevertheless, Saand Ki Aankh is of a resonance that immediately establishes it separated from run-of-the-mill feminist narratives.

The film compounds dabs of contagious spirit with sporadic thought-inducing intervals to narrate a rousing actual story of two pathbreaking grandmothers of Uttar Pradesh. Venturing out two decades ago, to tear free from the manacles of patriarchy and ascend to prominence in a male-dominated sport.

The estimated Saand Ki Aankh budget is 28 crores. Saand Ki Aankh Total Box Office Collection 2.75 Crore in Trade Figures for the first three days.

It must be noted that the film is very distant from perfect. The narrow outline seems inflated; more than once, the story rambles into irrational. The closing scene is unusually boorish and seems to go on forever. At least three places in the film could be pointed out that felt like the climax but turned out not to be. About almost two and a half hours, it is unmistakable long. It doesn’t help either as the makeup is bizarre and embarrassing. Taapsee and Bhumi never resemble like women in their sixties, and it is because they’re patted with an inconsistent, unconvincing pancake. Vineet Kumar Singh is a victim too, characterized by fake-looking white streaks in his french beard.

It is a tale that values, and it is narrated with the honor that it warrants. A slight more caution, a shorter edit, and more reliable mark determination might have made all the exception and turned Saand Ki Aankh into the film that it had the potential to be. The flaws are, however, only brief and do not induce persistent damage.

Pannu and Pednekar are beautiful and spirited and espouse their roles even though their body language and demeanor are unsteady. Bakshi and Arjun render outstanding support.

Saand Ki Aankh review of Tushar Hiranandani’s direction accompanies the moderately primary template of filmmaking. He reckons nothing unusual or draws in anything distinct to the desk. He slips to appeal in the vintage impression presented during the period he was dispensed to shoot.

Every single song fails to click, and there are five of them. Udta Teetar did enunciate well in the trailer, but in the film, it is just too noisy. Asha Bhosle’s Aasmaa, a beautiful song, doesn’t give the touches it should have. The idea of Womaniya appears to be a straightforward rip-off from R. Rajkumar’s title theme. Advait Nemlekar’s background composition is a big slip. It needed an adrenaline-pumping score, and Advait never even touches close to it.

Excluding a stumble here and there, Saand Ki Aankh demonstrates never less than convincing while being sincere to the inspiration to craft an engaging real-life narrative. As per the Saand Ki Aankh review, it exuberates vibrancy that it’s more than your money’s worth, it is a film that gives food for thought and touching stimulation in one go.

Photo by Bollywoodkahungama

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