Deepak is a lawyer suffering from bipolar disorder who experiences frequent mood swings. One night, Rajveer and his friends get drunk and try to molest Miss Arora and her two roommates leading to an accident. The film revolves around how Deepak fights the girls' case against these influential boys.Wikipedia
I left the cinema, my mouth dry at the end of Pink. This isn’t just an important film, but also excellently made. It’s a giant leap for Hindi cinema, and easily the best film this year.
Pink, perhaps called thus because the colour is girly, subverts it and turns it on its head. In its best bits, the film blazes, its call-to-arms radiating outwards and forcing us to acknowledge uncomfortable truths. It has something to say, and says it with courage and conviction. Gather everyone and go; and while you are at it, spread the word.
Pink shows what meticulous planning can do to a film. And, of course, Amitabh Bachchan’s enigmatic persona will guide you through the darkness. Not to be missed at all.
Kudos to writer Ritesh Shah for maintaining such sensitivity while writing the screenplay of the film.Watching this film should definitely be on your to-do list for the weekend.
This is a solid, terse film that makes its points in mainstream fashion with an appropriate lack of subtlety.
Pink works because the grimness of the material doesn't weigh on the telling. This isn't a laboured lecture on women's rights. Pink is a powerful film that needs to be seen.
Pink is a powerful statement on the existing feudal mindset of a majority of India, where men and women are judged by a different yardstick. And if the man happens to be from a powerful family, then the fight for justice is even more skewed.
Pink is poignant and powerfully provocative. It is a must-watch for everyone with a blurred vision for modern day women.
Pink is a film every woman and every man must watch. It carries an important message. And even if it changes the mindset of one percent of the country's population, it's a big win.
Pink, like Madaari, also written by Ritesh Shah, is a film that has the trappings of a thriller to keep the audience guessing about the outcome every minute, while simultaneously engaging them in a conversation about contemporary society. Pink is about the patriarchal mindset which looks at independent women capable of making the same choices as independent, enfranchised men, as 'loose' or 'characterless'.
PINK is a compelling film which exposes hypocrisies and double standards against women in our society. With powerful performances from the starcast, the film leaves you shocked, stunned and speechless. At the Box Office, it will be patronised by the multiplex audiences and the positive word of mouth will translate into healthy footfalls for the movie. Don't miss this one as it hammers home a very powerful message.
Well acted, well intentioned and inspiringly brave, Pink is the film that can shake up feudal mindsets in India. It is a bit theatrical in its approach, but some causes need to be shouted from the rooftops. So that’s what Pink does. It stands tall and it lets out a roar of defiance against gender inequality and women exploitation. More power to girls.
PINK is an essential piece of cinema. Having Mr. Bachchan in an act which nobody can afford to miss, the topical courtroom drama questioning the mindset of the society on women and the prevailing double standards demands compulsory viewing. Do yourself a favour, watch PINK.
Does this film leave a similar impact? Frankly, I’d say, at the cost sticking the precious neck out — even more. And why’s that? Quite simply, because the terrible incident described in this film could happen to absolutely anyone of us, or our loved ones.
Pink will likely be dubbed an 'important' movie, because it is. Its underlying themes of slut-shaming, consent, and societal double standards are impactful enough, despite the consistent lack of subtlety, and are rarely discussed with such openness in Hindi cinema. However, none of this excuses the fact that the end product is a middling, slapdash drama that goes out of its way to dumb itself down and manipulate the audience.
Pink grabs our collective biases and age-old notions about permissible boundaries for feminine behaviour by the shoulder and shakes them hard. This a film that can change gender equations in our society.
Audience Reviews for Pink
"Brilliant take on the plight of independent women due to prejudices!!!"
In recent years, one of the most oft seen headline in the media is the atrocities happening against our women in various parts of the country. It's an undeniable fact that just like every nation, even we do have our shortcomings with the primary one being prejudistic misconceptions. Like it or not, an independent female is invariably looked upon with a suspicious eye by many especially if she is living life on her own terms away from her family. This week we have Aniruddha Roy's "Pink" which highlights on this issue. The trailer was awesome & had all the makings of being a damn good film. But my doubt was whether it will turn out to be too preachy towards the end rather than being blunt???
Minal Arora (Taapsee Pannu), Falak Ali (Kirti Kulhari) & Andrea (Andrea Tariang) were independent professionals who stayed together in the South Delhi region. On one of the weekends, they decided to attend a rock concert & by the end of it, they happened to befriend a couple of guys through a mutual friend. On the invitation of one of the guys, Rajveer (Angad Bedi); who hailed from an influential family they decided to spent some time with them over food & drinks in his resort. But things spiraled out of control as Rajveer was inflicted a severe blow on his head with a bottle by Minal when the former tried to molest her. This enrages the guys & resolves to make their lives a living hell or in their terms " ladkiyon ki aukat". Left with no option, the girls decide to take the legal route but it was much tougher than they had anticipated. So will their lawyer Deepak Sehgal (Amitabh Bachchan) be able to win it for them without their names being tarnished for no fault of theirs???
This powerful movie is the directorial debut of Aniruddha Roy who has made a name for himself in the Bengal film industry. The script by Ritesh Shah is so damn impactful & Aniruddha has executed it so brilliantly on celluloid that it does make us realise the amount of hardships many of the women face on a daily basis due to the prejudistic mindset of many of the people. If the first half focused on how they are crushed emotionally, the latter half is a captivating court room drama. It runs close to 140 mins but it doesnt make us squirm in our seats. All the technical aspects were in sync with the mood of the movie be it Abhik's visuals or Shantanu Moitra & Anupam Roy's music.
There isnt a single actor who hasnt given his best & kudos to the casting team for having selected such a team. Coming to the girls, I have never considered Taapsee a competent actress coz she was horrible in the few movies that I had seen such as "Doubles", "Aarambham" etc except for "Baby", But she totally changed my view with her brilliant performance here as the bold female who breaks down with time. Kirti Kulhari was the best I felt especially in the sequences where she explodes on the phone & in the court room where she turns the tables on the prosecution. Equally fantastic was Andrea, who might not have as many lines but whose body language was spot on exuding vulnerability. What do I say about Big B??? he just amazes us with his screen presence & reverberating baritone, all the while making sure that he doesn't go overboard. Among the guys, Vijay Varma steals the show whenever he is on focus with his callous nature towards women while Angad Bedi fitted the bill of the spoilt brat. A special word of praise for Piyush Mishra as the prosecutor whose cold hearted attitude really irritates us along with Dhritimann Chatterjee as the kind hearted & empathetic judge.
Verdict: It might not have the glitz & glamour of a big budget movie, but it's hard hitting realistic movies like these that gives us a whole new experience. In all probability, it should have the word of mouth going in its favour & it truly deserves all the accolades coming its way. I just hope that each one of us watch this as it is relevant to our times & atleast make an effort to change if such prejudices are harboured. As the movie says "Her attire, relationships & sexual life shouldnt be used as yardsticks of her morality. She is the master of her own will & if she says NO...it's a clear NO". For me, this movie is a YES...AN EMPHATIC YES...SO DONT MISS IT!!!
NO Means NO. ♦ Grade B+
Rarely come in Bollywood films that provoke you, reignite a topic of grave importance, unleash fury in you so much that it stays with him or her for a long time. One such film is "Pink", a highly engrossing courtroom crime drama by Bengali filmmaker Aniruddha Roy Chowdhury.
Minal (Tapsee Pannu), Falak (Kirti Kulhari), and Andrea (Andrea Tariang) are three independent working women who live alone in a rented apartment in the capital city of India. Following a night of drunken brawl with some men they met at a rock concert, the trio come back home in a state of exponential disquietude. What really happened towards the end of the night at a hotel where the trio and the men met and further partied post the concert is not clear, save for one immediate consequence: one of the men had to be rushed to the hospital. What follows is a harrowing story about a study on assumptions that society as a whole makes on people, especially women. Hence, one guesses, the title, "Pink".
The film does not describe what really happened that night, and one has to wait for the second half to get some deep insights into the matter as the scene shifts to a Sessions Court where Deepak (Amitabh Bachchan), a reputed lawyer, comes out of retirement to enable the female trio a chance at vindicating themselves after they were picked up by the police for crimes that they say they didn't do. One can connect the dots here, but that is where one will go wrong as the story gathers pace and proves you wrong. The plot will have you flummoxed for it does not take side as to who - the unruly group of four men or the trio of liberal and rebellious fashionista women - are at fault. What could have been averted with just an apology blows out of proportion when the male group use the hand of politics that is resting on their shoulders to settle scores with the female group who also are not fully of one mind about a possible compromise. It goes to show that today's youth - or let me be more general - today's people, practice vendetta more than pacifism, and the blame is on feudalism, which has mutated itself to an ultra-strong force that produces madness in today's world.
One will be impressed and hooked with the narrative in 30 minutes, guaranteed. While police apathy is one theme it touches upon, Pink is largely about what today's society, with its feudal roots, assumes when a woman consumes alcohol, when she hangs out with her male friends, when she keeps a casual relationship with that widower, when she has casual sex with that librarian she met while discussing Franz Kafka's "The Trial", or when she wears that transparent-lace brassiere - the possibilities are endless. It focuses on the futile point that a woman's (or a man's) character is defined by their behavior, their demeanor, their air at a given point of time and at a given location. It strains to enlighten us with the fact that this assumption is rubbish and full of void. It narrates the assumptions in strong points, delivered, some as innuendos ad others as clearly as text written on iron, by the talented Piyush Mishra as solicitor defending the male group. It also has a lot to say about the discrimination of Indians against their own brothers and sisters who hail from the Northeast, a topic which was most recently reignited by a TV commercial. The courtroom sequences are well-edited, but are slightly cheesy if not fast-paced for an audience whose senses have been numbed by the likes of Great Grand Masti (2016) and Freaky Ali (2016). A much- needed jolt to their senses, this film embraces realism wherever required and furnishes a story that is divinely appropriate and fabulously timed, just to convey an important message: that when a woman says NO, it means NO.
The three actresses are marvelous and well-directed. There's not a single frame where they go out of character, helping the story to reveal itself using their own portrayals as windows of loud expressions. Sometimes, the most difficult characters to play are the ones that are so close to real life. Amitabh Bachchan again comes up and impresses his audience, hat-tricking his bout of roles that are aligned in the same column of crime thrillers. Mishra and supporting cast are very good, and happy to see Dhritiman Chatterjee. The film works partially because of the cast and their performance, along with some crisp writing, easy screenplay, and a subtle, but loud score.
The 150-minute drama does, of course, have its share of flaws, but not substantial enough to affect your viewing or enjoyment. The courtroom scenes don't always sample realism, but that can be forgiven as a cinematic liberty taken by Mr. Chowdhury and writer Ritesh Shah. The hand of political influence which the male group were banking on fails to advance inside the court as is not what usually happens, either in real or reel life. But, one doesn't have time to pinpoint these petty flaws in the film because he or she also wants to assume that the women are not guilty or that the men are not guilty; this way, even the plot tries to play with you, making you believe in smoke and mirrors. But, do you know the facts? Do you ever?
It partially reminds one of Quentin Tarantino's debut, Reservoir Dogs (1992), where the actual scene of the heist is never shown. Here, the actual scene is not clearly shown unless you are patient enough. So, don't miss the end credit roll.
Pink is gritty, absolutely relevant, and a well-executed film that deserves immediate viewing. At the end, I had goosebumps in the back of my neck, and I knew I was going to recommend this as one of the top Hindi films of the year.
BOTTOM LINE: Aniruddha Roy Chowdhury's debut Bollywood feature "Pink" is a well-written, well-executed courtroom drama that demands viewing for it will be quoted in numerous occasions as we leap forward with a backward mind. Book a theater ticket now!
Can be watched with a typical Indian family? YES
Pink through its highly engaging plot and courtroom drama turns out to be so powerful that it is bound to shake you to the core.
Pink, a brilliant film by Aniruddha Roy Chowdhury is going to shake you to the core. It is not a film from a feminist perspective, but it does talk about the shackles in which girls of our country are tied even in this century. The newspapers everyday talks of atleast one incident where a girl is either molested or raped. Recently, we found two acid attack survivors Reshma Quereshi and Laxmi making headlines by walking the ramps in New York Fashion Week and London. They conveyed a very strong message that acid can destroy their face / bodies but their will and spirits cannot be destroyed. Thinking of such ordeal itself gives us goosebumps, difficult to even imagine the trauma of the victims. What is the mentality of the people, who do so in the rage of not able to accept rejections? And as far as Reshma and Laxmi are concerned, they have displayed extraordinary grit and strength by fighting all the sorrow, grief, vulnerabilities and leading a life with their heads held high. They generate a great sense of respect and regard for them. If I talk regarding the film Pink, it does not talk of such intense incidents, but it does raise many pertinent questions, talks of double standards, gender discrimination etc. In spite of females excelling in almost every field, there are many unsaid rules in our society which decides whether a female is of good character or not. The beauty of the film is that this is not at all a loud film in spite of conveying a very loud message. It talks of the attitudes prevalent all around us which stamps a female of ‘questionable character’ on the basis of the length of the her skirt, the time when she returns home after work, how much she smiles at men, whether she drinks / parties or not, and her virginity status etc.
There are enough moral policing for girls. It also talks about the corrupt system in our country, the cops who actually need to protect people, end up in framing people in false cases. Pink through its highly engaging plot and courtroom drama turns out to be so powerful that it is bound to make you think.
Three single independent working women Minal Arora (Taapsee Pannu), Falak Ali (Kirti Kulhari) and Andrea (Andrea Tariang) are friends and they share an apartment in Delhi. Minal is from Delhi itself, but due to her odd working hours, she stays with friends. Falak is from Lucknow and Andrea from Meghalaya. Their lives take a turn when they go for a rock concert with a friend Vishwa (Tushar Pandey) and befriend Rajveer (Angad Bedi) and Dumpy (Raashul Tandon). They accept a dinner invitation from Rajveer and go for the same in a resort in Surajkund, Haryana. After some light talks, jokes, drinks, Minal is inappropriately touched by Rajveer. In an effort for self-defense, Minal picks up a bottle and smashes it on Rajveer. The girls manage to escape from the resort. Till the credits roll, the incident is not shown which led to the whole plot. But the screenplay is so strong that one gets to have vivid visualization of what could have gone wrong.
Girls do not approach the police initially out of fear. They even get more scared when they come to know that Rajveer is the nephew of very influential politician. Later, when all three are harassed by the boys gang (actor Vijay Varma also joins the gang) by different means, they decide to approach police department and file a case. But Rajveer files a case in turn against Minal mainly and accusing other two too. Minal is accused for ‘Attempt to murder’, for extorting money etc. All three of them are labeled in the FIR as prostitutes. Minal is arrested, and the case is handled by none other than Deepak Sehgal (Amitabh Bachchan), who lives in the neighbourhood of Minal, Falak and Andrea. The initial shots itself show Deepak doing morning exercises in the park, where he often ends up looking at Minal jogging with blank expressions. Deepak Sehgal had called it quits to his profession as a lawyer due to his bipolar disorder, but comes to the rescue of the girls.
The second half is highly engaging with courtroom sequence. Piyush Mishra as Prashant is the prosecution lawyer. There we get to see some fine and smart moves during the debate. Deepak had answers to every accusation which Prashant was bringing up.
Who wins in the end – Girls or the boys? How efficiently does Deepak suffering from bipolar disorder fight the case ? What defense statements were made by Prashant to protect the boys ? What was the motive of girls behind accepting dinner invitations from acquaintances, was it to extort money from the rich (as accused)? How were the girls Minal, Falak and Andrea treated in the society, workplace and in court after this incident ? How did they handle their character assassination?
There are certain moments in the films which certainly would bring tears to your eyes. There is a scene, where after the incident, Minal is commented upon as the girl involved in ‘Surajkund Kand’, she just puts the hood of her sweatshirt on her head instead of retaliating, Amitabh Bachchan removes the hood. There are many more such moments. There is no lecture in the film; rather it talks about what is happening in and around us.
There are some parts of the plot which were not very much justified: Amitabh Bachchan’s Bipolar disorder, his ailing wife confined to a hospital bed. The boys appeared very influential and egoistic in the beginning, wanted to punish girls at any cost, but once when the courtroom drama started unfolding, there was not a single moment of encounter / threatening from these boys to girls, which seemed unlikely. But these are very much unnoticeable in midst of powerful scenes.
Amitabh Bachchan blends with the character of Deepak Sehgal so well. He is outstanding. Taapsee, Kirti, Andrea are also extremely good, have projected their vulnerabilities, pain, sadness, confusions, anger with so much finesse. Angad Bedi as Rajveer stands out, rest of the boys Vijay Varma, Raashul Tandon, Tushar Pandey are also very nice. Piyush Mishra with his exclusive style of dialogue delivery excels as the prosecution lawyer. Vinod Nagpal as the landlord and Sudhanva Deshpande as Haryanvi cop are superb. Dhritiman Chatterjee as judge has done so much justice to his character, he projects his uneasiness when girls are interrogated with uncomfortable questions.
Pink, a very powerful and outstanding film, conveys a message very loudly that when a woman (be it friend, acquaintance, wife) says ‘No’, it actually means ‘No’. It also prompts society to stop judging a girl on the basis of length of her skirt, time of her returning home, her single status, her attempts to enjoy life in parties etc. The poem by Tanvir Ghazi recited by Amitabh Bachchan when the credits roll, clearly conveys that it is high time to end the patriarchal rules which shackles the women in stereotypes. Pink through its highly engaging plot and courtroom drama turns out to be so powerful that it is bound to shake you to the core.
Does the wearing of a short skirt by a woman serve as a natural indictment of her character, a rather visible emblem of promiscuity?
Do we, as members of a society overwhelmingly plagued with male chauvinism, even have the right to impugn a woman’s motives based on her past relationships?
These are just some of the rather uncomfortable themes that Pink – arguably the smartest, finest film you’ll see this year – chooses to grapple with.
Director Aniruddha Roy Chowdhury has managed to outdo himself with a modern masterpiece – a film so wonderfully made that everything else pretty much fades into oblivion.
A young Delhi girl (Taapsee Pannu, in a riveting performance) gets into a fracas with a politician’s son, a rather entitled snob who chooses to molest her when she refuses to succumb to his advances.
The fallout of this is expectedly grim, and one that feels even scarier than usual because of how relatable it feels.
Amitabh Bachchan is exceedingly good as Deepak Sehgal, a lawyer who chooses to come out of retirement and fight for a cause that he is able to genuinely empathise with.
As for the screenplay and the writing, both brim with a sharp, sardonic wit that, rather incisively, cuts too close to the bone.
Pink is truly a film for the ages – one that is timely, relevant and gut-wrenching all at once.
Like the finest of champagnes, it leaves you with a wonderful aftertaste.