Panga Movie
Cast: Kangana Ranaut, Jassi Gill, Richa Chadha, Neena Gupta
Director: Ashwini Iyer Tiwari

Rooted in the real world, Panga features a glamorous Kangana Ranaut in the role of a retired kabaddi player who returns to the game after a seven-year hiatus and inevitably takes part in a series of challenges. The film's central premise has undeniable potential but has come to naught as the treatment was not sure.

Intelligently scripted, cleverly directed and well-acted sports drama is created by characters who are easy to relate to. Unlike the average Bollywood films of the genre, Panga never snatches credibility, when one can feel that it can happen with a little speed. Intentional pacing ultimately causes no harm. This, in fact, takes the audience away from the crocs of the story.

Director Ashwini Iyer Tiwari (Nil Batte Sannata, Bareilly Ki Barfi) meets a narrative small town, the middle-class ghats, who tend to be more attentive to the small gestures of defending banks and daring over grand evocations and stigmas. Working with a script that she has co-written with additional screenplay inputs and dialogues from Nikhil Mehrotra and Nitesh Tiwari, she portrays a story that lends a compelling plot or authenticity to the thrill of a superficial nature Does not sacrifice

Even when the film's an important character. Jaya Nigam (Ranaut), tantrically close to realizing her dream of representing India again, the film does not venture further in search of higher drama. This is a difficult journey for Jaya as she negotiates blips along the way. There are times when she is unable to pull it off, which makes her effort more attractive.

Handsome for the way Ranga scored and choreographed the way the Kabaddi sequence (national level player Gauri Wadekar) scored. Sports scenes in Hindi cinema rarely have the natural look that they do in Panga. A large part of the credit should also go to the actors led by Ranaut - they never appear outside the kabaddi court. The role fits the female lead to perfection and there is not a single wrong note in her performance.

The film transcends melodrama and returns to the story of a mother in a physically accurate play around the tangible struggles that stem from her professional and personal responsibilities. In Jaya's absence from her home in Bhopal, her husband Prashant (Jassi Gill) struggles to produce the defunct Elu Parathe for breakfast and reprimands her son Aditya (Yagya Bhasin). He tries his best to give the boy a tiger look for his annual school day.

The family lives in a modest government residence and the production design team makes no attempt to overly affect the space. The imprisoned works are also at the edge of the artifact. It does not have a flashy designer pad, but a live-in home look. In a passing scene, Prashanth dips a cookie in her tea, while Adi, sprawled on the sofa, removes the cream from a biscuit because J. Patel's camera captures 'Tamasha' without thinking.

Panga remains firmly within the realm of an admirable story, even a woman, avoiding presenting the protagonist as an infallible superheroine who takes the odds in her stride and conquers. The sheer leaps of faith trapped by the audacity to drive home, partly due to her own will and partly to the pressures of motherhood, into dry domesticity.

The slow-burn approach allowed Jaya's character to seep into the 'action' scenes - they are all confined to kabaddi courts and practice areas - and lend them both reality and power. The challenges of the role of the working woman as a mother to a seven-year-old boy with poor immunity and the distance she has been at the peak since leaving her kabaddi are her realization of the lost glory in the face of family and social Efforts are fruitful. Expectations.

Her unbreakable supportive husband represents a kind of masculinity that Mumbai films rarely celebrate, let alone show. Panga goes out to show all of us the strength of a man who sees his ambitions as his wife and throws a lot behind her when the opportunity knocks at her door. Jaya will have to leave Bhopal, where the former India captain and noted raider is now a railway ticket booking clerk and goes to Kolkata to join a new Eastern Railway team. No praise can be too much for Jassi Gill's performance. He completely immerses himself in the character, it's hard to imagine any actor playing it better.

Panga is not like a Bollywood sports film, in which the protagonist is an arrogant, ageless legible-talker who bulldozes his way into the world without caring. Jaya has to reconcile with a set of obstacles. Her son needs constant monitoring due to his medical condition. Her husband, a railway employee, also has no qualms about how to run the house when tears fall on him. As important, Jaya is no longer 25 years old. His awareness has slowed down. Her body is no longer in shape. His soul is ready, but his mind says that he can go to some area.

Jaya's mother (Nina Gupta) is the first woman to warn him of the stupidity of his trick. But after an initial friendly suspicion to Meenu (Richa Chadha), a former teammate and genius, steps up to help her friend achieve her goal. And finally, Jaya shares a room with a little girl, Nisha (Megha Burman), who lays eggs on her and stands by her while the chips are down.

Only once does the conflict assume an external dimension as the current Indian captain Smita (Smita Tambe), who has no love for Jaya. There is reason to doubt the former that the 32-year-old is shouting slogans outside the court only to heat the benches and return home with a gold medal from the Asian Kabaddi Championship. The national coach (Rajesh Tailang), on his part, does not make any bones about why he needs to include Jaya in the team. The reasons for his selection are cited as somewhat malleable, which puts both the player and his family under undue stress.

The supporting cast, spoken in an extended cameo by Richa Chadha, which moves Panga up a few notches, is first-rate. Megha Burman and Smita Tambe, both adopting two ends of the film's Kabaddi spectrum, deserve special mention for their sterling shows on the court and again, while veteran Nina Gupta, who is somewhat short of the screenplay, Has missed no opportunity to make his presence felt.