THAPPAD makes a strong statement on patriarchy and violence against women and is run with a powerful performance by Taapsee Pannu.

We are in the year 2020 but still, a lot of objectionable trends are sad. Violence against women, in particular, continues despite the progress of our country and the rise in education and living standards. Anubhav Sinha, whose 2.0 avatar has given us films on Hindu-Muslim unity [MULK; 2018] And caste discrimination [ARTICLE 15; 2019] Now takes the subject for his latest hard-hit flick, Thappad. The trailer has already tickled the audience due to Taapsee Pannu and Anubhav’s association with her story and this project. So is THAPPAD as influential as Anubha’s previous two films? Or disappoints? Let us analyze.

THAPPAD is the story of a woman fighting a tough battle. Amrita (Taapsee Pannu) is a housewife and happily marries Vikram (Pavel Gulati) in Delhi. Vikram works in a reputed company and is looking for an opportunity to take him to London for work purposes. Amrita knows how much this means to Vikram. She loves him wholeheartedly and his whole life revolves around her and visits her mother Sulochana (Tanvi Azmi). Thanks to Vikram, he has been selected for London. That same night, he threw a party at his house. Until they get a call from their superior, Thapar, all is going well. He informs Vikram that he is not getting the desired profile that he is looking for in London and will have to report to an authority there. This is not something that Vikram was initially assured of. He faces the flamingos, another superior of Vikram who is present in the party. Things get heated between them and Amrita tries to calm them down. In the process, Vikram slaps Amrita. His entire world crashes. She tries to move on but simply cannot. Vikram regrets when he realizes that Amrita is hurt by his antics. He tries to console her but it doesn’t work for him. So Amrita shifted to her parents’ house (Kumud Mishra and Ratna Pathak Shah). Vikram stops her and later comes to take her back. But he does not move. Vikram then sends her a legal notice. Amrita’s brother Karan (Ankur Rathe )’s girlfriend Swati (Naila Grewal) suggests that Amrita should show the letter to Neithra (Maya Sarao), a respected lawyer and Swati’s boss. Netra suggests that Amrita should resolve the issue amicably. However, Amrita does not want to and she insists on divorce. What happens next makes the rest of the film.

The story of Anubhav Sushila Sinha and Mrunmayi Lagu Vakul is fantastic and admirable. In a society where repeated violence against wives by husbands is quite common, it takes courage to pull out a film where the woman is killed only once by the husband and still she you are intelligent. The screenplay by Anubhav Sushila Sinha and Mrunmayi Lagu Vekul (Script Advisor: Anjum Rajabali) helps a lot to ensure that the audience is persuaded to agree with the team’s vision. They get out of this situation very well and patriarchy has a deep connection not only in the case of men, but also in the case of women. The dialogues of Anubhav Sushila Sinha and Mrunmayi Lagu Vekul are acidic and sharp and add to the impact. Some of them simplify the proceedings but it goes in favor of the film. There are a lot of one-liners that will definitely hit the audience and make them reflect their own misdeeds.

Anubhav Sushila Sinha’s direction is superb. Not only has he written a great script, but he has played it very well. The world and mood are quite different compared to MULK and ARTICLE 15 but he understands and judges it. Amrita’s prediction is well established and one is bound to move on from her struggle, especially when members of her family also fail to support her. There are also several subplots and most of them are well thin and add to the plot of the theory nicely. There are some scenes where she likes to hug Shivani (Dia Mirza), Amrita, slap Sulochana, and insist that Amrita come with the guests, Amrita’s father accuses her son of mistreating Swati Scolding, Amrita’s mother told not to cheat Sandhya. Getting support to continue his singing career, confrontation between lawyers, etc. On the flipside, the second half seems to be dragging. Manufacturers may have isolated Sulochana’s track, as it unnecessarily adds subplots. Additionally, they could fix the track of a lawyer cheating on her husband. A section of the audience may find that Amrita’s entire section of Vikram was not difficult to digest. It is strange that no one in his circle suggested that he should say sorry. It is only in the pre-climax that this issue has been raised before him.

Slap | Public review | Taapsee Pannu | Anubhav Sinha | First day first show

THAPPAD has an impressive debut where all supporting characters are introduced and their likeness is an ice cream. Amrita’s introduction is very brilliant. It gives a DJ vow of Nishikant Kamat’s classic Marathi film DOMBIVALI FAST [2004] But it works very well here to see what his day looks like. Highpoint is definitely a party sequence and slap. After this scene, it may feel like the film is stagnating, but those scenes are important to explain how Amrita’s life has changed after a rapid slap. The intermission point is great. After Interval, interest persists but this is where the film sinks. One hopes dhamaka When the sides come face to face, but nothing of the sort happens. The confrontation is there and although it is in sync with the film’s plot and mood, it may seem mild, especially as some are expecting entertainment here. The film ends on a proper note.

THAPPAD has many best artists but it is without a doubt related to Taapsee Pannu. She has given many memorable performances and will definitely be one of her most efficient acts! She completely falls into the character’s skin, leaving viewers forgetting her earlier performance. When you see her performing her housewife duties, you forget her tone. Pavel Gulati made a brilliant debut. He looks dashing and suits it perfectly. Kumud Mishra is terrible. Anubhav Sinha always draws a good performance from them and THAPPAD is no exception. Ratna Pathak Shah is quite subtle and makes an impact. His dialogue in the finale also influenced the film in a way – with Tanvi Azmi. Maya Sarao is a powerhouse of talent and an actor to watch. She considers her acting completely correct, especially with her body language. Geetika Vidya (Sunita) gets to play a memorable role and he kills her. Dia Mirza has limited screen time but it works. Gracie Goswami (Sania; Shivani’s daughter) has a good screen presence and dances well. Naila Grewal, Manav Kaul (Rohit Jaisingh), Ram Kapoor (Advocate Gujral) and Ankur Rathe are impartial. Harsh A. Singh (Thapar), Santanu Ghatak (Vikram’s associate Subodh), Rohan Khurana (Neethra’s Prem Ras), Sushil Dahiya (Vikram’s father), Siddhan Karnik (Vikram’s brother), Nidhi Uttam (Vikram’s sister-in-law) and actor Huh. It is also a good job to play the role of flamingo.

There is not much scope in the music of Anurag Deepali Saikia. ‘A piece of sunshine’ Although there is a nice, dull effect. Mangesh Urmila Dhakad’s background score is superb. The opening scenes feature jazz style music that gives a nice touch. Soumik Saramila Mukherjee’s cinematography is top-class. Vishakha Vidya Kullavar’s costumes are looking attractive, especially the saree worn by Tapi at the party. Jyothika Mirpuri Awara’s makeup and hair are appropriate. Nikhil Kshipra Kovale has a rich production design. Editing Yashpa Pushpa Ramchandani could have been a difficult one, but overall he has done a commendable job.

Overall, THAPPAD makes a strong statement on patriarchy and violence against women and is run with a powerful performance by Taapsee Pannu. At the box office, it will be loved and loved by its target audience – The Womanfolk.

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