It wouldn’t be outrageous to describe Begum Jaan as cinematic disaster of epic proportions that not only lacks purpose but also is devoid of entertainment that viewers seek in commercial movies. Let’s look at the various factors that make Begum Jaan a colossal failure.

If you’ve seen the original or intend to at some point, give Begum Jaan a miss. Although, a first-rate Vidya Balan act is reason you shouldn’t.

Overdramatic and convoluted…Vidya Balan in the title role, as expected, is impressive and effortlessly convincing.

Overall it’s a good film to watch with ferocious acting by Vidya, stellar performances of the other starcast, perfect direction and a musical treat by the legendary singers, but definitely not meant for timid hearted people. So all you brave hearts don’t just sit at home this weekend, but make your way to the theatres to witness the partition era again. Just don’t give this a miss!!! 

Director Srijit Mukherji talks of a valid concept and the fact that he makes the women look like badass fighters is phenomenal. Had his film’s technical departments lived up to the level of his vision, Begum Jaan would’ve been a resounding story of women empowerment. While the movie does get a lot of things right, it just lacks a little conviction in presenting its powerful ideas.

In creating a world where women rule the roost, the film misses the wood for the trees. Or sex for the sleaze.

‘Begum Jaan’ is like a rich kingdom without its loyal subjects as the good performances deserves to be cherished but at the same time could be avoided due to bad technicalities.

The film is based on one of the most massive mass migrations, leaving almost 12 million people to move houses.  There were riots. Millions were massacred; women were raped and abducted. It’s a heart-wrenching story aching to be told. Alas we watch a stubborn, high-headed woman whose strange sense of pride and heroism cost innocent lives.

This film has nothing new to tell us about this tumultuous time in our history: the British were apparently very bad, so were politicians on both sides, so were royal families. This is the kind of broadly simplistic film in which a little girl can ask, “Is it the same thing to kill a Hindu and a Muslim?”

Instead of being a story about looking at historical from a lesser-seen perspective, we get a tacky movie which soon seems like an exploitation flick.  The move to weave in a contemporary sexual assault attack reeks of emotional manipulation and lacks coherence. What is meant to be an act of valour in the filmmaker’s eyes comes across as a crude gimmick. Begum Jaan for all its good intent is a misfire of epic proportions.

Would I recommend Begum Jaan? I would. For Vidya who bravely shoulders this cliche with all she’s got. And also because of the times we live in, when exclusion has taken the form of a multi-headed monster who raises his head in every sphere.

Rajkahini the Bengali original of Begum Jaan is now on my to-watch list.

For all its appearance of a historical film, the events in “Begum Jaan” seem far removed from the time. There is barely any evidence of the churn taking place in India or of the communal tensions at the time. Mukherji doesn’t seem to be able to tie together the twin themes of partition and the exploitation of women.

The film ultimately works only for its actors but most do not get to flex their talent in a script that is trying to tell too many things at the same time.

If you want gut-wrenching truths told with searing honesty and sans showiness and sham, check out this film. You will take back quite a few characters and sequences from it. This is one film that haunts me even as I write this review. And I hope that the box-office is kind to it.

A plot that could have been a powerful eye opening metaphor on ‘mata’ (read women) and ‘bharat mata’ turns into a disturbing, over blown, deliberately hysterical and forcefully sensational misadaptation of the brilliant National award winning Bengali film RAJKAHINI. Shockingly, the creator of RAJKAHINI Srijit Mukherji is the destroyer of BEGUM JAAN which sees the fiery and determined Vidya Balan fighting a lost battle in this flimsy piece of cinema.

Begum Jaan chronicles the life inside a whorehouse set in the middle of the India-Pakistan border. Unfortunately, Vidya Balan who plays the title role cannot save the hopelessly predictable plot. The film is such a terrible, bloated and tastelessly overdone copy of the Shabana Azmi starrer Mandi (1983).

Begum Jaan isn’t an easy watch. It makes you squirm at the double standards prevailing in the society. At the same time, it comforts you with a hope that ‘woh subah kabhi toh aayegi’. Watch it for Vidya Balan whose piercing eyes and firebrand dialogues gives you ample of goosebump-inducing moments!

Begum Jaan loses out on impact due to melodrama. The cluttered plot runs out of steam despite of decent performances.

Vidya Balan could count this performance as another feather in her already overflowing cap…

While the first half is an extended version of the trailer and is laborious, the second half picks up pace considerably. The attempts of the establishment to smoke them out of their own domain is interesting, but somehow it’s difficult to connect to them. The subtext of ruthless colonialism, the aftermath of partition of a fractured India and the rumble of Hindi-Muslim riots makes the film cluttered and heavy.
Watch this only if you are fan of Balan.

Begum Jaan is strong, inspiring, shocking, and more than anything — heart-wrenching. Don’t forget to take your handkerchief (or tissues!) along.

Srijit Mukherji’s Bangla period film ‘Rajkahini’ (2015), that this one is the exact replica of, was slightly refreshing, mainly because it was set during 1947 Partition, yes, but on the eastern front, where East Pakistan was being separated from West Bengal, Assam. Normally, Partition narratives get placed in the North, mainly Punjab. As is this adaptation, by the way. Except you don’t hear as much Punjabi here.

The shabbily picturised sequence of women blindly firing into nowhere upholds Begum Jaan’s flimsy, ill-defined rebellion where Mukherjee draws epic parallels to their resistance.

It is as reckless as Radcliffe’s.

Watch ‘Begum Jaan’ for Vidya Balan’s impressive performance but don’t expect it to be a masterpiece!

The climax is full of fire and faux brimstone and lots of speechifying, as the ladies of easy virtue become a gun-toting ‘fauj’.

The 134-minute long Begum Jaan has Vidya Balan in good form, but it lacks cohesiveness as a complete story. It shies away from delving deep into the theme, but you may appreciate its documentary-like treatment.

The Holi number is peppy with striking visuals. Otherwise having the 11 women in one frame becomes nothing but a screech-fest. Having Vidya in a film is an asset though. She is an audacious actor, who merits an extra half star for her ability to shoulder a film.