So finally Bollywood movies don’t rely on men anymore. Strong women-centric films are coming up. But we still have to wait for women films to be a little better. What makes a woman-centric film great in Indian cinema? There are two keys to this, firstly they don’t have to be over-reliant on A-list male co-stars and secondly, there have to be strong thoughtful and loophole-free screenplays.
The latest film ‘Simran’ again portrays a woman in the center of things but falls short on promise. After ‘Queen’ and ‘Tanu Weds Manu Returns’ much was expected from the self-proclaimed feminist, Kangana Ranaut but she falls short of expectations. Writer duo Hansal Mehta and Apoorva Ansaria fail to recreate the magic which they had done earlier with sensitive films like ‘Aligarh’ and ‘CityLights’. Much hyped ‘Simran’ just falls a tad short on the fans wishes.
Ever since the first look of the film came out, it was clear that ‘Simran’ is all about Kangana. The plot revolves around Praful Patel (Kangana Ranaut) who is a 30-year-old divorcee currently working as housekeeping in Atlanta hotel. Praful’s parents only wish now is to get their daughter remarried to an earnest MBS student Sameer (Soham Shah) but Praful has more independent ambitions. She plans to buy an apartment for herself until then all she wants to do is crazy gambling and partying. She spends a fortune of her savings on her cousin’s bachelorette bash Las Vegas. Left with almost nothing Praful now borrows money from corrupt moneylenders and yet again squanders it all in another failed gambling attempt. To get things back on track, the divorcee now takes to robbing banks as her life further spirals down dangerously.
The biggest glitch easily evident in ‘Simran’ is the screenplay. It’s literally scattered all over the place. The plot fumbles across different genres and department. The comedy looks like a half backed bun while some scenes look ridiculously fake. Praful watches YouTube videos to rob a bank and how to kill people without getting killed. The character of Praful is expected to talk volumes about women empowerment but unfortunately fails miserably as a flawed, confused, at times aggravating, and unglamorous woman. The film lacks the romantic angle as Praful is hardly attracting towards her male counterparts. The romantic sequence with Sameer fails to ignite any sparks.
The only positive or the feel-good factor about the film is Ranaut. Kangana despite the shortcomings of the screenplay manages to keep everything together. Kangana’s keen comic timing makes up for the loopholes in the script. ‘Simran’ lacks the power to engage audiences on its own and it is only Kangana’s charm and vulnerability that lures fans to theaters. Though ‘Simran’ is an out and out Kangana Ranaut film yet it once again proves the lack of good screenplays in Bollywood. The script and screenplay that truly exemplify an actor’ true talent in Indian cinema are still woefully hard to find.