Chhapaak Movie Review & Full Movie, Story

 Director: Meghna Gulzar
Cast: Deepika Padukone, Vikrant Massey

An immediate subject and a female headman who suffers the hard work of his Bajirao Mastani and "Padmavat" and an acid attack seeps into the skin of a lower-middle-class woman for a lifetime, Chhapak is a Hindi cinema's mi Makes a stone of Director Meghna Gulzar and actor Deepika Padukone gave some points to this commendable effort to bring a frightening true story to the big screen, but they are undeniably honest, well-crafted cinematic work to carry forward the memoir of suffering. Shame on, a battle for tenacity and justice.

Written by Atika Chauhan and Meghna Gulzar, Chhapak depicts the bare face through the story of Malati Aggarwal amidst the ugly face of masculinity, the sensitivity of society and the inadequacy of the legal system, which is based on the character of real-life Lakshmi Lakshmi Agarwal, Who later fights. In 2005, a male acquaintance-stalker in a Delhi market threw acid on him and shattered his dream of becoming the "next Indian Idol".

But that is not where the splash begins. The film opens amid intense street protests in December 2012 in response to the Nirbhaya gang-rape case. It is here that we first hear Malti's name in a conversation between a television reporter and an on-the-spot journalist. Amol (Vikrant Massey). The reference to oral exchange is public interest litigation in which the acid attack survivor has demanded a complete ban on over-the-counter sales of acid.

The legal battle lasted for seven years when he met Malati for the first time. Life is a struggle for him. Employment is difficult to come by. And there is no end to her trauma to watch as she fights to get legislation to differentiate between acid attacks and other violent acts, leading to "serious injury". Deepika's performance rules the hearts of all, helping her to compensate for the asymmetry that creeps into her craft. Her effort has a soul, as overall in the film, but not entirely heavy in her interpretation, which has made it into something fantastically brilliant.

Chhapak tells the story of a woman who chooses herself and mutates from victim to a committed combatant, setting an example for survivors of other acid attacks. The dramatic force of the transition does not quite come through, although it is important to keep the screenplay in mind not to let its importance diminish. The restraint under Meghna Gulzar cuts both ways: it gives sharpness for a few moments but blames some others.

Amol and Malati cross paths when they later get a job at an NGO, the Chhaya Foundation, which raises funds to help acid attack survivors. Like everything else in Chhapak, the romance between Amol and Malati - the latter calling it "silent love" - ​​takes time to develop. But when this happens, the directors are in a far better role, examining long-disaffected feelings for each other as a sweep between the two characters develops into intense emotion and engaging sharpness. The subtlety and sensitivity that characterizes these trembling moments are even more so in the film.

The splash rests on two long flashbacks - the first in the half, the second post-interval - which explains the horrors of the acid attack, the crime, and the subsequent Agneepath. In the first flashback, Malti was attacked with acid on a Delhi street and taken to a hospital. Thus begins a series of reconstructive surgeries.

The second flashback progresses over time - we see Malti's conversation in the days ahead of the attack of a big Bashir Khan (Vishal Dahiya) and his classmate Rajesh (Ankit Bisht) who face his face - and life - forever. Stains But, as she emphasizes at one point in the film, the acid attack does not break her soul. In this phase of the story, Deepika passes as a teenager. It is a stretch, to say the least.

The splash offers viewers a glimpse into how the law deals with acid attack cases. It alternates between a police procedural and a courtroom drama underlining the emotional agony Malti and her family face. The film tracks two parallel legal battles - one pertaining to the prosecution of the culprit, the other on Malti's PIL seeking a ban on the sale of acid.

This gives Malati's skilled lawyer Archana Bajaj, lots of footage and Madhurjit Sargi a chance to make an impression. She gives a solid performance. So Payal Nair works as Shiraj Jamshedji, Malati's father (Manohar Teli) in his house as a cook. Although the screenplay does not give the protagonist's parents as much of a role as they deserve, Geeta Agarwal, playing the mother, is not adequately crowded.

Vikrant Massey's cuffed Amol suffers somewhat as the role is not completely finished. However, the actor rises above the limits placed on them to come up with a convincing performance.

With much of the crisis at 123 minutes, there are times when the splash appears to flow from one issue to another or is close to bursting at the seam. But the delicate direction touches some of the film's passages. In a scene in which the lawyer asks Malati (lying in bed, her face pressed into a pillow) to fight, the camera ties the four women - Shiraz, Malati, her mother and Archana - into a frame - which leads them to Leaves second, showing the nature of their struggle and the need for solidarity.

Cinematographer Malay Prakash, in his second narrative only as an independent DOP, is impressively gracious. He occupies various places, which Malati occupies - alleys, his house, hospital, courtroom - in a way that reflects the intimacy of his struggle while maintaining a deep sense of distance. Editor Nitin Baid (Masan, Raazi, Gully Boy) also showcases the skill and sensitivity to be withdrawn and the subject to determine the pace and rhythm of the film.

There are many parts of Chhapak which are delicately carved. But the aggregation of film-making elements is by no means greater than the sum of some parts. Nevertheless, the working parts necessarily see the splash. Look at this not only for Deepika Padukone but also what to say about social disintegration.