PINK is reminiscent of Damini, in a much revolutionary and evolved form. It brings forward the concept of ‘consent’ which we badly need today! How a woman’s no means a NO and should be treated like a NO is not just attempted but successfully delivered. All the leading ladies have done a fantabulous job, and they leave a mark or maybe even scar your memory, rightfully so. And of course there is Amitabh Bachchan giving one of his strongest performances as he takes the center stage in the courtroom. Overall, for a non-commercial film like 'Pink', the music comes as a surprise — it not only touches the soul but also manages to keep up with the pace that the promos promised.It is well acted, well directed and a well-paced movie. We are definitely giving it a thumbs up, it’s worth your money!

After delivering acclaimed Bengali dramas like Anuranan, Antahin and Aparajita Tumi, Aniruddha Roy Chowdhury forays into Hindi with Pink, and what a debut it is. There aren’t any of the usual jazzy Bollywood criminals here yet you feel terrified. No dramatic sounds to enhance the mood, still you want to hear it. No dim lights, but you want to look away.The reason is simple: You know this world and its inhabitants. Bachchan gives it all and drives his points home with such force that you fall in love with him all over again. The master’s complete dominance silences the courtroom and the audience. Don’t be amazed if you start feeling uncomfortable and break into tears and claps.Every single actor has upped the ante in this 136-minute riveting drama. If Taapsee excels in initial courtroom scenes, Kirti takes it to a whole new level in the finale. The girls have shown a tremendous range and Pink belongs to them. Nobody has overshadowed them, not even Bachchan or a shrewd lawyer Prashant, played by a super intense Piyush Mishra.

Pink, like Madaari, also written by Ritesh Shah, is a film that has the trappings of a thriller to keep the audience guessing about the outcome every minute, while simultaneously engaging them in a conversation about contemporary society. Pink is about the patriarchal mindset which looks at independent women capable of making the same choices as independent, enfranchised men, as 'loose' or 'characterless'. The screenplay is among the best-written ones of 2016 so far (even though that list isn't long). When you have a great script along with actors like Amitabh Bachchan, Piyush Mishra, Dhritiman Chattejee plus competent young performers like Taapsee and Kirti, you already have a winner in your hands. As such, Aniruddha Roy Chowdhury, whose Bengali films had a rather sombre, poetic, deliberate aesthetic, does not get to show much directorial flourish in Pink. A very interesting thing about Pink is how the film holds back the details of the aforementioned 'bad twist of events' up until the beginning of the second half, which is essentially the courtroom part, where everything falls into place. Therefore, the audience is put in the same position as that of the judge, who has no prior information on the plaintiff or the defendant to form an opinion. Pink is a giant leap, sure, but it can only leap so far. Keeping Pink as a starting point, future writer-directors should build on the foundation established by it to make more brave, more daring films on women's issues, where one day, not Amitabh Bachchan, but a woman can stand up and speak for herself and everyone will listen.

All those associated with the making of Pink, please take a deep bow: finally, a powerful, brave Hindi mainstream film which focuses on real young women who live real lives and deal with thorny day-to-day issues, which young women the world over will identify and relate with. I know where the young leads in Pink are coming from. And I know too many women who have been in their place, or missed being in that place by a scary, scarring whisker. Hearing the phrase ‘are you a virgin’ in a Bollywood film in a meaningful, non-smirky manner? Fantastic. Underlining a woman’s freedom to own her sexuality? Priceless. For the most part, the thespian comes off mannered, and you want to shout out and say, no, this film doesn’t need Bachchan to be in a pulpit of his own, when he is meant to be taking apart those who are in the witness box. The only weak link in this film is the elderly lawyer played by Amitabh Bachchan. Deepak Sehgall, we are told, is suffering from bipolar disorder, which means mood swings, which means Bachchan alternating between chewing out dialogue and being growly and forced. He takes on the girls’ case, and we want to cheer because he is the Bachchan and will make everything come right. But because he is Bachchan, the director handles him with kid gloves, and there goes the naturalism with which everyone else is playing their parts so effectively. Meanwhile, Pink, perhaps called thus because the colour is girly, subverts it and turns it on its head. In its best bits, the film blazes, its call-to-arms radiating outwards and forcing us to acknowledge uncomfortable truths. It has something to say, and says it with courage and conviction. Gather everyone and go; and while you are at it, spread the word.

Pink is a powerful statement on the existing feudal mindset of a majority of India, where men and women are judged by a different yardstick. And if the man happens to be from a powerful family, then the fight for justice is even more skewed. Pink questions the society's mindset where we think girls with short hemlines and those who enjoy a drink with men are low on morals. It also tells you that whether a woman is a sex-worker, wife or slave, if she says 'no' to being touched, then no man has the right to force himself on her. Or outrage her modesty. The performances are pitch-perfect with Bachchan leading the way. Creative producer, Shoojit Sircar, who directed (Vicky Donor, Madras Cafe, Piku) makes another valuable addition to his repetoire. Colour Me Pink India!