Aamir Khan’s historical TV show ‘Satyamev Jayate’ introduced viewers to many real-life heroes who were unknown then. The two most memorable guests of this series were ‘Revolver Dadis’, ie Chandro and Prakash Tomar. Tusshar Hiranandani, for his debut film SAAND KI AANKH, decides to mold his story into celluloid. So does SAAND KI AANKH manage the enlightened and entertain the audience too? Or do producers fail to do justice? Let us analyze.
SAAND KI AANKH is the story of two women who find calling in their 60s. The year is 1999. Chandro Tomar (Bhumi Pednekar) and Prateik Tomar (Taapsee Pannu) are sisters-in-law with their respective spouses, strict and conservative brother-in-law Ratan Singh (Prakash Jha) and their children. In the village of Johri in Uttar Pradesh. Both have crossed the age of 60 and though they had a desire to do something meaningful in their lives, they were not allowed due to pressure from patriarchal society. One day, Dr. Yashpal (Vineet Kumar) returns to the jeweler. He leaves his medical profession and starts his shooting range. Chandro’s daughter Shefali (Sarah Arjun) expresses interest to practice shooting but Ratan expressly refuses permission. Nevertheless, Chandro takes Shefali to the range. Without much thought, Chandro also tried her hand and surprisingly she hit a bullseye! Yashpal asks him to try a few more times and he realizes that Chandro is a supporter. Later, Prakashi also joins and even becomes an expert shooter! Yashpal encourages him to hone his skills at his shooting range and later, asks him to participate in a shooting competition held in Chandigarh. Spill Never in his life stepped out of his village. Therefore, they are apprehensive at first, but still, they agree. They cleverly fool their husbands and rattan and join the competition where Prakshi comes first and Chandro comes second. In no time, they easily win many tournaments, cooking various stories to tell their spouse. However soon a time comes when the Tomar sisters are forced to tell Ratan the truth. What happens next makes the rest of the film.
The story of Balwinder Januja is very promising and inspiring. This not only mesmerises the audience about the lives of Chandro and Prakashi Tomar, but also makes critical remarks about the diseases of the patriarchal society and lack of awareness about population control. Balwinder Januja’s screenplay is captivating for the most part, but the flashbacks may be better in the beginning and pre-climax of the part. Jagdeep Singhu’s dialogues are acidic and sharp.
Tusshar Hiranandani’s direction is good for first-timers and he is in control of the writing material. He does his best to make it as entertaining and mainstream as possible. Also he scores on the emotional front on the issue of conflict Spill And the way they get annoyed by the male members of the family can leave the audience with moist eyes. On the flipside, he should have kept the period in check. The final 15-20 minutes could have been better emotionally because the scene before the finale was very good.
SAAND KI AANKH starts on an interesting note and Chandro and Prakashi’s entry brings a smile to someone’s face. The flashback part works in parts. In fact, the entire first half though engaging really doesn’t go to a high. There is not enough drama or tension in this time Spill Are able to practice easily and even become suspicious without men in Chandigarh. The best part of the first half is the Chandigarh competition and both women silence their players. Even after the interval, the stress does not arise until a certain point. Still, the second half is better because there are some very sweet moments. One of the most touching scenes here is when Chandro and Prakashi mistake a finger bowl for hot lime water and take it down the throat. Maharani (Nikhat Khan) does not want Spill Being insulted for her gesture and so, she does the same! and also jugaadu Installed by disco lights Spill at their house ‘Baby gold’ The song is melodious. Order of collision between Spill And Ratan Singh is exhilarating. One hopes the film ends here but it will run for 20 minutes as the film also focuses on the tracks of Shefali and Seema trying to become shooters. The track also has its moments but after the scene of the high-voltage collision, the film falls flat in this scene. The film ends on an emotional note.
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SAAND KI AANKH is related to Taspe Pannu and Bhumi Pednekar. It is important to note that they do not actually look old, but both compensate for this through their performance. Taapsee is relaxed and on the way she breaks into a sheepish smile when her plan to fool men succeeds. She gives her best in the final part of the film. Bhumi also gives her best and her body language is spot-on. Apart from this, his efforts to get English will cause laughter in theaters. However in some scenes, she was overpowered by Tasepp. Vineet Kumar is beloved and will be liked as the man who acts as a catalyst in the journey of ‘Revolver Dadis’. From his dialogue delivery to his expressions, he vindicated his acting. Prakash Jha is very confident in what can be called a negative role and one cannot help but hate him from beginning to end! Shad Randhawa makes his appearance in the second half of the film. Nikhat Khan is beloved as the empress and she is part of some of the most important scenes in the film. Sara Arjun has a good screen presence and does well. Yogendra Singh (young Ratan Singh) is apt. SK Batra (IG Jaydev), Pawan Chopra (Jai Singh Tomar), Kuldeep Sarin (Bhanwar Singh Tomar), Preeta Bakshi (Seema) and Himanshu Sharma (Sachin) also performed their best.
Vishal Mishra’s music is circumstantial and works well, but only as a part of this film. ‘Udta pheasant’ Is exhilarating ‘Womaniya’ Appears at the end and is memorable as the real Chandro and Prakashi Tomar are also in the track. ‘Aasmaa’ It is well touched and sung by Asha Bhosle. ‘Baby gold’ And ‘Jhunna Jhunna’ Has catchy melodies and is appropriately shot. There is a commercial feel in the background score of Advaita Nemlekar.
Sudhakar Reddy Yakanti’s cinematography is superb, especially in shooting scenes. The camera moves in such a way that it adds to the play. Also watch for a scene where that rear-view mirror of the motorcycle captures all the important movements of the characters. Ravi Srivastava’s production design is authentic. The fact that it was shot in the Tomar sisters’ village also adds to the authenticity. Rohit Chaturvedi’s costumes are straight from life. Sunil matches well with Rodrigues’ action film. Rajiv’s Rastogi has a rich VFX. Devendra Murdeshwar’s editing is clean, but in the second half it could have been a bit stricter.
Overall, SAAND KI AANKH rests on an inspiring story and soulful performances by Taapsee Pannu and Bhumi Pednekar. However, at the box office, it will require a strong word of mouth to avoid competition as HOUSEFULL 4 and MADE IN China.