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Saand Ki Aankh Movie Synopsis
Bhumi and Taspe are in great form as grandmother. They carry the film effortlessly on their shoulders and the indomitable spirit shines even when it gets tough.
|Directed by||Tushar Hiranandani|
|Produced by||Anurag Kashyap|
|Written by||Jagdeep Sidhu|
|Screenplay by||Balwinder Singh Janjua|
Vineet Kumar Singh
|Cinematography||Sudhakar Reddy Yakkanti|
|Edited by||Devendra Murdeshwar|
Chalk and Cheese Films
|Distributed by||Reliance Entertainment|
|Release date||25 October 2019|
Saand Ki Aankh Movie Story
Story By: The biographical film is a definite part of the lives of India’s oldest sharpshooters, Prakashi Tomar and Chandro Tomar, and leaves us with an inspiring message.
Saand Ki Aankh Movie Review
Review By: Sisters Chandro (Bhumi Pednekar) and Prakashi (Taapsee Pannu) are accustomed to the patriarchal ways of the society in which they live. They don’t agree with it or like it, but they are conditioned to keep up with it. , But at the same time, women discover their own small escapes to protect themselves. At the age of 60, two senior citizens, who live in Johri village (Uttar Pradesh), along with their large family, accidentally discover that they have a penchant for shooting. The shooting instructor who became a doctor setting up a shooting range in the village, Dr. With the help of Yashpal (Vineet Singh), they participate in various competitions and win medals. When they are busy honoring their skills, the men of their household are unaware of the new happenings in the lives of these women. They also inspire their granddaughters to follow suit. However, a twist in the story prevents them to hide, and confront the men in the clan.
At the beginning of the film, director Tusshar Hiranandani set the stage to give viewers a glimpse of a house, where a woman’s identity depends on the color of the scarf to which she is draped. In one scene, Bhumi explained to a newlywed Taapsee that the women of the house wear a ‘veil’ of a specific color, as it helps to avoid confusion among the men of the house.
Bhumi and Taspe are in great form as grandmothers, who are willing to do anything to inspire and help their granddaughters. The two leading ladies carried the film effortlessly on their shoulders. His indomitable spirit still flashes when he gets tough. Whether he is sipping on several glasses of champagne or standing up, when they are fed up with the throngs of teenagers, the two walk hands down the street and prove equally capable. In some places, Taapsee stole one end of the land, but the latter quickly agreed to it. Filmmaker Prakash Jha, who happens to be the antagonist here, does a good job and is taking up enough space to evoke fear and contempt. Among the songs of the film, ‘Womaniya’ and ‘Udta Titar’ add to the entertainment quotient and remain with you even after leaving the theater. It is good that the dialogues are not preachy, but there is nothing memorable about them.
It is the poor prosthetic makeup that distracts you. Silver stripes and patchy makeup is an eye color in the pioneer women’s hair. It is to the credit of Land and Taspe that they overcome this obstacle and get you to look beyond it. While there is no doubt that it is an inspirational story, it goes a bit long before finding a stable ground in the first half of the film. A strict editing would have made it a more entertaining watch. The story also stumbles when the hide-and-seek game between the two beards and their family begins to become a repetition. Fortunately, the director soon escapes that trap and sets things in motion when the two major faces in the film are exposed. Characterization is uneven; There are actually four good men in this story, and no meaning. The film talks about women empowerment, celebrates with great enthusiasm among women, and tries to hit the bull’s eye at every point.
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