‘Laapataa Ladies’ movie review: Kiran Rao lifts the veil on patriarchy with a sharp social satire


A scene from 'Missing Ladies'

A scene from 'Missing Ladies' Photo Credit: T-Series/Youtube

After drenching us with your sentiments Laundry bay, Director Kiran Rao returns to check the social pulse of the Hindi belt and exposes deep-rooted patriarchy. Set in the fictional Nirmal Pradesh, which shares cultural boundaries with what political journalists call the 'Cow Belt', the insightful narrative beautifully captures the angularity of a region where gender discrimination is a way of life and an outspoken woman There is a prejudice against, which is called derogatory. Women grow organically in the fields. Without indulging in sloganeering or feminist discourse, A Wise Ray peels back the layers of an unjust society and addresses the invisibility of women with a light touch.

after 12th failed, it's another poignant example of how relevant social commentary can be woven into a compelling story. An example of excellent teamwork, the technical and aesthetic foot together and there is hardly any lag in tone and pace. The rustic atmosphere is believable, the dialect and costumes do not attract attention, and the performances flow seamlessly. Not to forget Ram Sampath's charming compositions and Divyanidi Sharma's incisive poetry that enriches the emotional tapestry of the narrative.

on the surface, missing ladies It is based on the dilemma of two newlywed brides who are transformed by their veils during a train journey, which has both literal and metaphorical expressions. Set against the backdrop of a time when mobile phones were still a novelty and a beloved item of dowry, the situational humor draws you in but as the film progresses, we realize that the story behind the mess is not at all simple . That the satire in this satire is fierce. Like a Brechtian device, a retired security guard chanting while lying in a vegetative state Stay awake (Stay awake) at key moments in the movie.

Missing Ladies (Hindi)

director: Kiran Rao

mold: Nitanshi Goyal, Pratibha Ranta, Sparsh Srivastava, Bhaskar Jha, Geeta Aggarwal, Chhaya Kadam, Ravi Kishan

Order: 122 minutes

Story: When two brides get lost on a moving train, a sequence of events ensues that is both hilarious and harrowing.

Based on the story by Biplab Goswami and carefully nurtured by Sneha Desai and Divyanidi, the novel opens the layers of esoteric scenes as attempted by Anusha Rizvi. Peepli Live Where Kiran was the co-producer.

Although it is a period piece set in 2001 when'save daughter educate daughter'Was yet to be coined, one could relate to the milieu and metaphors where a politician promises to take the voters'victory through development' (From development to victory) But girls still struggle to access higher education; Where lack of jobs means migration and endless wait for a life partner is the norm.

In this scenario, when a determined Jaya (Pratibha Ranta) finds a hole in the iron curtain, she escapes like a haystack through a crack in the rock of tradition. In the parallel space, it is also the innocent Phool (Nitanshi Goyal) who gets lost, but remains tied to the patriarchal framework in the name of culture. No wonder, when she gets abandoned on the railway platform she hides behind a large dustbin with 'Use Me' written on it in bold letters. They are compared to two types of men who seem to be made from the same fabric but have acquired different social shapes. While Deepak (Sparsh Srivastava) is progressive in thought and action, Pradeep (Bhaskar Jha) is rooted in medieval values. When the paths of these four characters cross, we see an interesting exploration of women's identity and dignity.

The relatively unknown but talented cast ensures that the surprise element remains intact. While Pratibha and Nitanshi have given stellar performances, veteran actress Chhaya Kadam plays the role of a single woman who runs a stall on the stage and provides space to plant flowers. She comes across as a dramatic device, the director's voice of reason, but gradually the conversation between Manju and Phool becomes a healthy exchange between creator and creation where both inform each other.

However, the scene stealer is Ravi Kishan as he plays a grizzled police officer whose conscience is not completely corrupted. Originally a single-screen actor, Kishan knows how to walk the thin wall separating the gallery from the balcony. He brings the color and texture of the area to Shyam Manohar without spoiling the tone of the film.

The only hitch is that after a point an experienced eye can see a pattern in the carefully designed algorithm that ticks on a social cause every five to seven minutes. There is a threat to harm the film jury A kind of feeling. Although the detail is remarkable, there are rather minor mistakes inspectorThe plate on the police inspector's table describes him as superintendent (Superintendent). But, overall, a welcome departure from the beaten path that a family outing deserves.

Missing Ladies is currently playing in theaters

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