3.5 / 5
It is possible to have new beginnings at any age if you have the will to do so. The life of ,amp; # 39; revolver dadis ,amp; # 39; Chandro Tomar and Prakashi Tomar is sufficient proof of that. Both began shooting with guns when they were 60 years old and won medals in each competition in which they participated. Today, when they are over 80 years old, they are considered the oldest snipers in the world and remain strong. Coming from a patriarchal family of jat, their achievements paved the way for the women of Baghpat and its surroundings to practice the sport. Prakashi, daughter, Seema, is an internationally renowned Trap shooter. Chandro, granddaughter, Shefali, had also competed nationally and internationally in gun events. Saand Ki Aankh is, above all, the story of the two grandmothers. And it also sheds light on the lives of the young women who followed their elders.
We follow the children, lives since they got married. Your day begins at the peak of dawn and ends at night. They do all the domestic work, in addition to working in the fields, as well as in the brick oven. They are covered in ghoonghat all the time and to avoid confusion, they color code their dupattas so that men know who to sleep with at night. And since there is no family planning concept, they become machines for having children, becoming mothers of a great offspring in a very short time. They have no voice at all in their home and cannot even leave their home without the explicit permission of the men.
Things change when a doctor (Vineet Kumar Singh) opens a shooting range in his village. Shefali (Sara Arjun) wants to join and once, to show him how it, done, Chandro (Bhumi Pednekar) shoots a target on the first attempt. Soon Prakashi (Taapsee Pannu) and then Seema (Pritha Bakshi) also join them. His constant nerves make grandmothers better shooters and soon begin to compete in shooting competitions for seniors, earning medals in each match. They deceive men to think they are visiting religious places when they go to various competitions. Both Seema and Shefali are selected for the Indian national camp and, for their sake, Chandro and Prakashi speak for the first time against their men, openly rebelling so that the next generation has the opportunity to live a better life …
While we talk about women breaking the glass roof and standing shoulder to shoulder with men, that, true only in limited urban pockets. Equality has yet to see the light of day for the vast majority of women in India. Despite the overwhelming opposition, they still find a way to claim some sunlight for them. The brotherhood that they feel with each other most of the time becomes the best weapon in their fight and that is what shines in the movie too. Both Chandro and Prakashi are there for each other in every situation. And other women in the house help them keep their secret. They are united in their victories, they are united in their defeats. What we see may have been a highly dramatized version of their lives, but the underlying pathos is as real as it seems. You get their anguish, their desire to rebel, their need to excel so they can free themselves.
The poetic license is taken when it comes to representing some situations; for example, they would not have been able to prevent the entire village from knowing their achievements. And sneak out to practice every day without someone informing their husbands. The purists will have a problem with the jat dialect spoken by the characters, while others might think that it is indecipherable. Others may point out that both Bhumi Pednekar and Taapsee Pannu seem too young to be grandmothers. But these are only minor flaws that don,#39;t really hamper the movie.
The two protagonists are the soul of the movie. Like Chandro and Prakashi, Bhumi and Taapsee support each other throughout the movie, they play and finish the sentences. Friendship, the camaraderie that his characters feel is almost palpable. Both are achieved enough to put your eyes and body language to wide use. They have the support of Pritha Bakshi and Sara Arjun. Prakash Jha is the villain of the piece here, playing the family patriarch with great enthusiasm. His delusions may sound OTT but what his character represents is the true face of patriarchy.
In short, watch the movie for real-life drama, as well as for its affirmative message towards the empowerment of women.
Trailer: Saand Ki Aankh
Harshada Rege, October 20, 2019, 4:04 AM IST
3.5 / 5
HISTORY: The biographical film traces a certain part of the life of the oldest snipers in India, Prakashi Tomar and Chandro Tomar, and leaves us an inspiring message.
REVISION: Sister-in-law Chandro (Bhumi Pednekar) and Prakashi (Taapsee Pannu) are accustomed to the patriarchal forms of the society in which they live. They disagree or like it, but they are conditioned to bear it. , but at the same time, the ladies find their own little getaways to move on. At the age of 60, the two older adults, who live in the village of Johri (Uttar Pradesh), with their large family, accidentally discover that they have a talent for shooting. With the help of the doctor turned into shooting instructor Dr. Yashpal (Viineet Singh), who establishes a shooting range in the village, they participate in several competitions and win medals. While they are busy perfecting their skills, the men in their home are oblivious to the new events in these women, lives. They also inspire their granddaughters to do the same. However, a twist in history leads them to stop hiding and confront the men of the front clan.
Right at the beginning of the movie, director Tushar Hiranandani sets the stage, giving viewers a vision of a home, where a woman, identity depends on the color of the dupatta she covers. In one scene, Bhumi explains to a newly married Taapsee that the women of the house adhere to using a ,amp; # 39; ghunghat ,amp; # 39; of a specific color, as it helps avoid confusion among men in the house.
Bhumi and Taapsee are very much like grandmothers, who are willing to do anything to inspire and help their granddaughters. The two main ladies carry the film on their shoulders effortlessly. His indomitable spirit shines even when things get tough. Whether taking sips of many glasses of champagne or standing when harassed by a group of teenagers, the two walk hand in hand and prove equally competent. In some places, Taapsee steals an advantage over Bhumi, but the latter quickly makes up for it. The filmmaker Prakash Jha, who becomes an antagonist here, does a good job and is threatening enough to cause fear and contempt. From the songs in the movie, ,amp; # 39; Womaniya ,amp; # 39; and ,amp; # 39; Udta Teetar ,amp; # 39; They join the entertainment quotient and remain with you even after leaving the theater. It is good that the dialogues are not predicative, but there is nothing memorable in them either.
It is the poor prosthetic makeup that ends up distracting you. The silver stripes on the hair of leading women and irregular makeup is an eyesore. It is the credit of Bhumi and Taapsee that they overcome this obstacle and make it look beyond. While there is no doubt that this is an inspiring story, it wanders too much in the first half of the movie, before finding a stable ground. A tighter edition would have made it a much more exciting watch. The narrative also stumbles a bit when the game of hide and seek between the two daadis and their family begins to be a bit repetitive. Fortunately, the director escapes that trap soon and sets things in motion when the two main confrontations in the film take place. The characterization seems one-dimensional; There are exactly four good men, and there are no bad women in this story. The film takes home the point of women, empowerment, celebrates the bonhomie among women with all their hearts and tries at all times to hit the mark.
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