For most parts, Pan Nalin’s Angry Indian Goddesses is indeed an Indian version of Sex and the City, (of course much less sex, this is India with the censor board, remember?) and surprisingly, a good one! After a good first half, the movie shifts gears post interval, and this is where it begins to falter. The shift perhaps was meant to give meaning to the title, but the story line becomes trite.
Pan Nalin's Angry Indian Goddesses, on one level, is a charmingly jaunty film powered by peppy performances. But under its cool, casual and cheeky chitchat on matters both saucy and solemn, it is also a trenchant study of a society festering from within. Writer-director Pan Nalin blends breezy humour, doses of pathos and shocking jolts in a rambunctious story that is variously about friends in need, partners in crime, and rebels with a cause.
Even if there are too many of them to focus exclusively on and the issues remain predictable, Angry Indian Goddesses triumphs in its collective chemistry and sisterhood. It's only when Nalin consciously cuts short the vacation to focus on gender inequality in a more aggressive fashion, Angry Indian Goddesses begins to read out like a erratic checklist of topical troubles and broad conclusions. Still, it's so good to see a film that revels in womanhood as much as this one.
The lively essence of tried-and-about-to-be-tested friendship amongst articulate women is adroitly captured, even when a crucial plot point is stretched beyond belief, and even when you know they are playing to a type. It helps, of course, that they are all easy on the eye, but they don’t let that get in the way of expressing a sense of self, and what they want: whether it is drooling over a hot male neighbour (the female gaze on a barely dressed young man is a nice subversive touch), or dreaming about getting it on.
Pan Nalin gives India an unusual female buddy film that attempts to make a statement on the growing atrocities against women. As long as the film stays with the lives of its characters, it does well. In the first half, it is breezy, its vocabulary remains conversational and is genuinely palpable. Alas, the story is never supported by a solid screenplay. The film's pace is a problem and though things gear up in the second half, it ends as a loopy mess.
Definitely watch! What makes this film extremely special is it’s strongly positive vibe while portraying pure friendship. It thoroughly strives by the sayings of ‘Friend in need’ and ‘Partners in crime’ minus all the ‘girly’ drama one would expect in it.