Awakening. The emotions of the rich Chandrapaks Singh, warmed up by her mother, are at their limits. Apparently, the degree of her influence on his son is so great that he is ready to marry again, as long as his wife bears him a son. Since there are two daughters in the family, and the mother is again in demolition. I want to make an angry tirade about it. Well, how long will this extreme emotionality due to the birth of an heir overwhelm Indian society? Maybe it's time to rethink your backward beliefs and ideas about the grace of your existence in connection with the birth of no one but a boy? As if for the birth of a girl, parents do not bear any responsibility and their birth immediately puts the swaggering father into a dead end, constrains his hands. Knowing the qualities of her husband: non-plastic, narrowness of his thinking - she has to make a decision not quite adequate, like an explosion. The role of a father dreaming of a son is played by Amrish Puri. He is very good at playing outbursts of unstoppable anger and unleashing them on anyone with hurricane force. Regardless of the degree of kinship. But, of course, like any Indian film, this one isn't just about the scorching fury of an unbalanced retrograde daddy. As you know, after any storm on the sea inevitably comes calm, and it comes to its usual calm state. And any emotions are waning, only realizing and feeling how great is the power of his son’s love for a poor girl.
But it is not so simple, the authors of the film are those snakes - tempters that decided to expand the views of both our and the unhappy father. Narrow, extremely limited circle of grooms and brides of Indian cinema. And even if you go far north of Bombay, there is no guarantee that the choices you make are somehow unrelated to your ancestors. It is, of course, very funny to look at this, these scenarios, of course, have nothing to do with reality. They distort the idea of it rather than display it. In Indian cinema, everything happens, and the impossible is possible. Again, there is the need to make decisions, to try to dominate, to yell, to control. Decision-making processes, as usual, are dictated, based on national characteristics, cultural traditions. Often under the influence of momentary emotions, habits, their own ideas about life, or even from ordinary instincts. Sometimes even animal instincts of submission to force. But only, probably, in Indian cinema all this results in a completely unexpected turn of events and in a result that is not amenable to logic and common sense. It's to make it interesting to watch. Of course, it’s a choice, but it’s not just a movie. There are songs, dances, and all sorts of childlike immediacy inherent in the classical structure of Indian cinema. For the functions of the nervous system are not unlimited, and it is necessary to give it a breather. But not for long, for 5-6 minutes, but for the whole movie. The film is about a variety of ways to save your family. Even in the way that the heroine Ashi Parekh used. This is incomprehensible to me, but I judge from my bell tower without regard to the constitution of Indian families. Their social and spiritual ideals and values. I don’t know if this film will open any new horizons, most likely not, such plots wander from film to film. But the main thing is to cause a response in the viewer, to awaken direct participation in them and cause resonance. And then start thinking, analyzing, thinking. Well, the authors, count it. I’m sitting there and analyzing: What was that?