The Sky Is Pink Movie Review: Priyanka Chopra gives this unmissable movie a starred advantage

The sky is pink Review of the film: Priyanka, Farhan and Zaira in a photo of the film. (Image courtesy of: YouTube)

to launch: Priyanka Chopra, Farhan Akhtar, Zaira Wasim, Rohit Saraf, Brian Nathan

Director: Shonali Bose

Judgments: 3.5 stars (out of 5)

A terminally ill 14-year-old girl, enriched with charm and conviction by Zaira Wasim, is at the center of Shonali Bose The sky is pink. But when the film opens, the character is already dead. Zaira is therefore not the main protagonist of the show. Priyanka Chopra, returning to Bollywood in the role of the stressed mother but always under the control of the girl, is.


Priyanka and Farhan in The sky is pink.

Priyanka Chopra gives the film a starry touch. On the contrary, his glam character tends to be at odds with the general tone of the dramatic drama. What works in his favor exceeds that which does not do it with a mustache. It's good enough to do The sky is pink a touching and tender portrait of a couple who is responsible for raising a daughter whose days are numbered.

The first two directorial initiatives of Shonali Bose – amu is Margarita, with a straw – cinematographic essays inspired by personal experiences have been diligently elaborated. The two films were separated by a decade but united by their spirit without independent compromise. The sky is pink uses decidedly simpler and decidedly more popular methods to write another cinematic story taken from real life.


Farhan, Zaira, Rohit and Priyanka in a photograph of the film.

Four years after she was diagnosed with pulmonary fibrosis, after the bone marrow transplant and the chemotherapy sessions she underwent as a child, the gifted Aisha (Zaira Wasim) lost her battle with death. But his spirit continues to tell the story of his own death and that of his parents, Aditi and Niren Chaudhary (Priyanka Chopra and Farhan Akhtar).

The posthumous narrative device (an off-screen voice over the grave is always complicated but the director holds it tight) makes it abundantly clear that the focus will be more on the mourning couple than on the deceased girl. Equally well. Aisha's story is too well documented to withstand repetition in a two and a half hour movie.

Comparatively less is known about how the slow fading of Aisha influenced her mother and her father, Moose and Panda for her. Of the 25 odd years in which the two were married, 18 were consumed by their unique mission to prolong the life of their sick daughter and make her last years as happy and rewarding as possible.

The dangerous state of the girl negatively affects the relationship of the couple. This is where the drama comes from The sky is pink it flows but never falls into overt sentimentality. It is a story about death that is both melancholy and affirmative of life, seen through the eyes of the girl who is now beyond the pallor of pain and suffering.

The sky is pink must deal with a clear disadvantage. The public is aware that the girl will die before she completes 19. The script faces the challenge head-on, creating a touching portrait of a talented child who writes, paints and lives the life of lees helped by a mother who will settle for nothing less that the best for your daughter. Bottling his emotions seems to come easy for Aditi. He loses his composure only once to recover while death closes on Aisha.

The sky is pink it concerns so much the emotional toll of feeding a life suspended by a tenuous thread as that of a family that is determined not to withdraw into a shell and frighteningly wait for the inevitable. Death is not the end. Neither an imminent tragedy is a trigger for debilitating despair. The deep sense of pain and loss of Aditi and Niren is played against their courageous reconciliation with their destiny.

The first shots of The sky is pink to establish the power of both absence and presence. Aisha is no longer there. A Labrador, a pet acquired not long before his death and now an integral part of a grieving family, lies stretched out on his empty bed. A painting of a colorful butterfly – a powerful metaphor for the ephemeral of beauty – hangs on a wall, with Aisha's signature at the bottom of the frame.

In another bedroom, Aditi (Priyanka Chopra) and Niren (Farhan Akhtar), Aisha's parents, sleep with their backs to each other. The death of the girl has obviously created a void, but the aura of her presence – ironically rooted in her irreversible absence – is very strong at home.

The narrative tone – animated and cheerful as it is emotionally charged – is in tune with what the film shows – the stoic act of a couple to come to terms and face a tragedy. It is a funeral counterpoint hanging over the family in the opening scenes and through the couple's efforts to offer their daughter the best treatment available.


An image from The sky is pink.

It is a difficult question because Aditi and Niren, who have already resisted the loss of their first child, a girl with the same medical conditions as Aisha, do not have the means to finance a life-saving intervention in London. An appeal to a South Asian radio show helps them raise more than twice the amount they need: money from Indians, Pakistanis, Bangladeshis, Afghans and others.

In a fleeting but definitive moment, while Niren waits outside the Great Ormond Street Hospital, a London taxi driver, unaware of his father's identity, hands him an envelope with a five-pound ticket, a small contribution to the intervention . The generosity of strangers ensures that Aisha, unlike her sister whom she has never seen, will have a good dose of life.

After the transplant, the six-month-old child is advised to continue medical treatment in the United Kingdom. For the daughter's sake, Aditi and Niren are forced to live apart – the first alongside her daughter, the second in Delhi to maintain a corporate job. The flashbacks reveal the years of the couple's courtship through a distinct social gap – Aditi is from South Delhi, Niren from Chandni Chowk – and, after marriage, their futile efforts to save their first daughter, Tanya.

In the first set of insights that Aisha provides to the surviving members of her family, she suggests that "19 years later two children their sex life was complicated". A child who treats his parents "" sex life "is not the norm in Hindi cinema. The sky is pink goes adrift near the Bollywood conventions in other respects, does things that are generally not part of the Hindi film game. Aditi fixes an appointment for Aisha with a classmate, picks up a canine companion and takes her on a snorkeling trip even while death stares at the girl.

When Aditi conceives her third child, Niren, who now earns enough to afford a luxurious and sprawling Delhi home in a pool, suggests an abortion. Aware of the exceptionally rare genetic disorder that the couple has, he fears the prospect of the birth of another child with severe combined immunodeficiency. Aditi, who embraced Christianity following a mystical experience, refuses to interrupt her pregnancy. They go on knowing the consequences.

If ever The sky is pink, scripted by Bose with Nilesh Maniyar, errs on the side of sustained cheerfulness, appreciably enhanced by Chopra's presence in the role of a mother who pauses her career and works with determination to take care of Aisha.

Akhtar, cast in the role of the sedated entrepreneur-father who stands next to his wife like a rock despite occasional conjugal twists (off screen) to drag his family from the middle-class desire and into a prosperity nurtured by the job of a manager Company, provides the perfect sheet for Chopra poised. Rohit Saraf, as Aisha Ishaan's older brother, gives a solid account of himself.

The sky is pink it is a shade that distinguishes it from Bose's previous films, but the director is profoundly aware of the colors he is working with here and uses nuances to provide an image full of pathos but of good heart that does not lose sight of the its primary purpose. Unmissable.

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