After Laal Singh ChaadaKiran Rao is here again with his newly released comedy-drama, Laapata Ladies smashing the oldest rotten culture and patriarchy, yet a witty script keeps humour and excitement aliv. A review of 4.9/5 audience gives a thumbs up making it worth watching a million times.
Deepak (Sparsh Shrivastava) a newly married young guy gets the shock of his life after realizing that her bride Phool (Nitanshi Goel) is swapped by someone else on the train while on his journey back home. Mistakenly swapped en route to their new husband’s home, two women navigate their journey of self-discovery. This movie brings in a deep sense of realization with its dialogues and cinematography, revolving around women’s empowerment and smashing the patriarchy.
Laapata Ladies starts with a wedding in the village, where the daughter is bidding goodbye (bidaai) as she leaves for her husband’s home, and must don the ghunghat, a veil that covers the entire face.
Due to a quirk of fate, the husband alights at the station in the middle of the night with what he assumes is his wife, only to realize when he reaches home, that she is not his but another’s, His own meanwhile has figured out her better half is missing, frantically gets down at another station in search of him, quite clueless about what to do or whom to trust.
Comedy of Errors
As they try to rectify this mistake, navigating through a comedy of errors is made more difficult by one woman’s naivety and the other’s innate intelligence, each avoiding being sent back without revealing their intentions.
We further see Manju Maai (Chhaya Kadam) helping Phool discover herself, a lady in her late 40s living in her cottage all alone yet happily. The character portrays a strong and independent lady leaving behind years of misery that makes her unkind and blunt.
The casting of unknown faces acts as a huge plus, as they not only put in stellar performances but naturally fit into the character’s skin with perfect ease.
Social Message
Though the film is loaded with social messages, especially of women’s empowerment, they come across subtly, without any hint of preachiness, so much so that it’s only later that the import hits you. The situations and the characters fit in so naturally that it never seems contrived, as if you are witnessing a slice of life.
Even the minor characters are perfectly sketched out, but special mention must be made of the Bhojpuri actor Ravi Kisan, who essays the role of the roguish daroga with such verve that you can’t help rooting for him. As one of the girls says in the end: it’s not about just finding your spouse but finding yourself.
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