{"id":5609,"date":"2016-03-30T13:57:31","date_gmt":"2016-03-30T08:27:31","guid":{"rendered":"http:\/\/13.201.39.237\/?p=5609"},"modified":"2016-03-30T13:57:31","modified_gmt":"2016-03-30T08:27:31","slug":"saand-ki-aankh-review-taapsee-pannu-bhumi-pednekar-biopic-dangal","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=5609","title":{"rendered":"Saand Ki Aankh Review: Taapsee Pannu and Bhumi Pednekar Hit the Bullseye in a Crowd-Pleasing Biopic"},"content":{"rendered":"\n

I<\/span>n an interview a few days ago, 32-year-old Taapsee Pannu, who along with Bhumi Pednekar stars in Tushar Hiranandani\u2019s <\/p>Saand Ki Aankh<\/span><\/i> as 60-year-old sharpshooters,<\/span> claimed <\/span><\/a>that there is no expiry date for an actress now. Their film, a biopic about two grandmothers who defied patriarchal norms in conservative Uttar Pradesh to take up the sport, argues something similar: That, there is no expiry date for a woman to follow her dreams. And yet, both Pannu and<\/span> Saand Ki Aankh<\/span><\/i> can be accused of doing mere lip-service, given that in their own ways, they end up reinforcing the exact opposite. That there is indeed an expiry date for an actress who happens to be a woman following her dreams.<\/span>\n\nSaand Ki Aankh <\/span><\/i>isn\u2019t the first instance of age-inappropriate casting in Bollywood, usually a bastion for ageing male A-listers who insist on playing young romantic heroes in film after film. In that sense, there is nothing objectionable about Pednekar and Pannu playing two characters who are significantly older than them. The trouble is that it is impossible to neglect that their casting also implies they were <\/span>preferred <\/span><\/i>for these roles over older actresses who wouldn\u2019t have required a transformation (or inefficient prosthetics) to become Chandra and Prakashi Tomar.\u00a0<\/span>\n\nWhen <\/span>Saand Ki Aankh <\/span><\/i>justifies its casting by implying that Pednekar and Pannu might have been better suited for the roles, it is effectively also devaluing the worth of actresses past a certain age. In doing so, the film continues the Bollywood tradition of turning against actresses, second-guessing older actresses, and refusing them a fair playing ground (In comparison, the younger and older versions of the Tomar husbands are played by four different actors). At a time when Hindi filmmakers seem to find fewer and fewer reasons to cast an older actress in the first place, <\/span>Saand Ki Aankh<\/span><\/i> chooses<\/span> to further the gap between lead roles and them.\u00a0<\/span>\n\nAt the same time, the film would have been easier to write off had it not been for its casting. Pednekar and Pannu are easily the best thing about the middling, overwrought, and on-the-nose <\/span>Saandh Ki Aankh<\/span><\/i>, turning in distinctive, affecting performances as women whose definitions of sacrifices and rebellion are unimaginably intertwined. Almost every flourish that you come to appreciate, despite the film\u2019s patronising interpretation of female emancipation, singularly rides on the back of the sheer conviction with which these two actresses sell their parts.\u00a0<\/span>\n

Too often, Tushar Hiranandani\u2019s translation of feminism doesn\u2019t realise that it is mocking women in the guise of celebrating them<\/blockquote>\nFor instance, there\u2019s an early scene when a reporter asks them their age while cracking a joke about how women, irrespective of their age, are hesitant to reveal it. It\u2019s a cringe-worthy moment that exists to service cheap laughs. It’s afforded an equally simplistic one-liner reply which has the Tomars say that a woman\u2019s age hardly matters when she is unable to distinguish between the years that she has lived for others and the ones she has truly lived for herself. And yet, you feel something; this moment manages to evoke emotion because of how heartfelt the delivery is. There\u2019s an emptiness in Chandra\u2019s (a spirited Pednekar) eyes and a sadness in Prakashi\u2019s (Pannu) smile that effortlessly steer the hollow writing and laces it with sentimentality.<\/span>\n\nIn a way, that is also the glaring flaw of <\/span>Saand Ki Aankh<\/span><\/i>, that falls in the trap of being yet another Hindi film that demands attention solely due to the novelty of what it stands for and not what it is. <\/span>Saand Ki Aankh<\/span><\/i> unabashedly stands for equality, frames generational sacrifice as a weapon against oppression, seeks to redefine domestic duties that married women silently endure as female labour, and highlights the dangers of not questioning the long-held ideals of masculinity. But what it is, for the most part, is an overlong gimmick, lost between its noble intentions and incoherent execution. Hiranandani \u2013 credited as a writer for<\/span> Housefull 4<\/span><\/i>, the week\u2019s other release \u2013 flits between crass comedy (a flashback condom ad scene derives its sense of humour from <\/span>Grand Masti <\/span><\/i>and <\/span>Great Grand Masti<\/span><\/i>, films that Hiranandani has written) and sensationalised drama (The director has also written <\/span>Ek Villain<\/span><\/i>) that further burdens <\/span>Saand Ki Aank<\/span><\/i>h.<\/span>\n\nIt\u2019s not that the gaze of the makers isn\u2019t sympathetic to its female leads but that too often, the film\u2019s translation of feminism suffers from a case of \u201cbeing written by men\u201d. By which I mean that the makers don\u2019t realise that they end up mocking women in the guise of celebrating them. There\u2019s an uncomfortable sequence involving the Maharani of Alwar where the two leads literally become the joke, that is a prime example. For the most part, Saand Ki Aankh’s <\/em>lack of awareness feels frustrating as its narrative does have more bite to it than the straightforwardness of <\/span>Dangal<\/span><\/i>, a film that has unwittingly set the standard for sports biopics now.\u00a0<\/span>\n\nIf <\/span>Dangal <\/span><\/i>was a spectacle that concerned itself solely with throwing a spotlight on the achievements of women, then <\/span>Saand Ki Aankh <\/span><\/i>confronts far superior and complex themes by training its gaze on a woman\u2019s worth and then separating it from the achievements that can be written against her name. It uses an ingenious device to calculate this as well \u2013 toxic masculinity. In fact, I was personally taken by how excellently and lightly <\/span>Saand Ki Aankh <\/span><\/i>deals with failure in sport. Unlike <\/span>Dangal<\/span><\/i>, the film makes room for it as an rite of passage, allowing for second chances in its women’s quest for excellence (It’s no surprise that the film is narrated by Shefali, the young granddaughter who doesn\u2019t excel at sharpshooting). Even admirable is how the film argues the indispensability of sisterhood as an emotional blanket in the lives of women. It\u2019s the reason <\/span>Saand Ki Aankh<\/span><\/i> is at its most enjoyable and inventive (within the constraints it sets up for itself) in its final 30 minutes.\u00a0<\/span>\n
Tapsee Pannu and Bhumi Pednekar\u2019s individual performances awe with the ambition they possess.<\/blockquote>\nBut on a closer look, these i<\/span>ntermittent charms practically cease to exist without its two leads. Saand Ki Aankh’s<\/em> insistence to be painfully crowd-pleasing (it is almost as if the writers have first imagined the whistles a dialogue will receive before writing it) force Pednekar and Pannu to be perennially on the defensive. It is perhaps why their turns don\u2019t have the luxury of being considered as the distinguished star performance that <\/span>makes<\/span><\/i> a movie, like Aamir Khan\u2019s act in <\/span>Dangal<\/span><\/i>. Instead, the performances feel like damage-control; the two actresses don\u2019t act as much as they overcompensate.\u00a0<\/span>\n\nIt is both a shame and a waste that the contrived screenplay never manages to play catch up, for Pannu and Pednekar\u2019s individual performances awe with the ambition they possess. Although, it is in the scenes they appear together that they create magic. The two actresses square off each other in rewarding ways (there\u2019s a lovely sequence where Pednekar schools Pannu on the hierarchy of the family\u2019s dupatta system before comforting her that is a worthy testament) and share an endearing chemistry that conveys the injustice of female neglect without being really showy.<\/span>\n\nAlthough, what feels rarer and precious to witness, is their generosity toward each other. Both Pannu and Pednekar make for even better supporting acts, matching each other\u2019s wavelengths with every beat (The fact that their names appear together in the opening credits is a nice touch). Neither is interested in overpowering the other \u2013 a leap of trust and sincerity that have them complementing each other\u2019s performances instead of competing with it. Maybe, in some cases, actresses don\u2019t need to make a movie, they just need to deliver performances that can endure the ages.<\/span>\n","protected":false},"excerpt":{"rendered":"

Saand Ki Aankh’s translation of female emancipation suffers from a case of \u201cbeing written by men\u201d. By which I mean that it doesn’t realise that it is mocking its two leads in the guise of celebrating them. The film would have been easier to write off had it not been for the distinctive, affecting performances by Bhumi Pednekar and Tapsee Pannu.<\/p>\n","protected":false},"author":103,"featured_media":5610,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[2164,27,9515,9516,9517,5855,9518],"class_list":["post-5609","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-bhumi-pednekar","tag-dangal","tag-saand-ki-aankh","tag-saand-ki-aankh-review","tag-sharpshooting","tag-tapsee-pannu","tag-tushar-hiranandani"],"yoast_head":"\nSaand Ki Aankh Review: Taapsee Pannu and Bhumi Pednekar Hit the Bullseye in a Crowd-Pleasing Biopic<\/title>\n<meta name=\"description\" content=\"Saand Ki Aankh's translation of female emancipation suffers from a case of \u201cbeing written by men\u201d. 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