PadMan Movie Review: The Akshay Kumar and Sonam Kapoor starrer

PadMan Movie Review: The Akshay Kumar and Sonam Kapoor Starrer aren't particularly good among the audience. It has many tonal problems, commonplace-ness, and flat-out filminess. It is trying to appeal too many constituencies at the same time.

PadMan Movie Review: The Akshay Kumar and Sonam Kapoor Starrer

Movie Cast: Akshay Kumar, Sonam Kapoor, Radhika Apte

Movie Director: R Balki

Overall Moviespoll Rating: 2.5/5

PadMan is based on the real-life inspirational story of Arunachalam Muruganantham, the man who famously invented the machine that led to the creation of a low-cost sanitary napkin and created a real-life revolution. There is absolutely no doubt that the subject and the intention of the film is applause-worthy. In India, the ‘shame’ associated with ‘that time of the month’ is still so strong and so pervasive. The film starring a big star, sometimes the best way to break age-old taboos.
          But PadMan left me conflicted because I kept struggling to find the film buried under the heavy-handed messaging, especially in the repetitive first half. By the time Gayatri (Apte), Lakshmikant Chauhan’s ( Kumar) utters the word ‘sharm’ the nth time, her beautiful big eyes swimming and came out of our ears. Because Lakshmikant, a resident of picturesque Maheshwar, a small town in MP, is hell-bent upon saving his wife and the other women of his family from the use of unhygienic rags. And nothing will deter him: not the bewildered Gayatri who can’t understand his obsession with this ‘auraton ki Baat’, nor his horrified sisters, his mother, or the other enraged women around him.

          This is a country where girls and women with the ‘curse’ are ex-communicated when they have their periods, not allowed to come into the kitchen, or touch ‘achaar’ because it will ‘go bad’, or any other human being because they will ‘become impure’. Not just having your periods is shameful, but even buying sanitary towels is a clandestine affair. Women live in terror of the blood seeping and staining their clothes: it is as natural as the monthly cycle but it can be the cause of deathly mortification. The young men make nasty, sexist remarks about ‘five-day test matches.

          Akshay Kumar is now consistently green-lighting socially-relevant films. Pad Man is produced by his wife Twinkle Khanna, a witty commentator on social mores. His 2017 "Toilet: Ek Prem Katha" started conversations around having toilets within the house. I liked both what it was trying to say and how it was doing so: it was done with a degree of flair. PadMan is worthy, but it isn’t a particularly good film. It has tonal problems, swinging between commonplace-ness and flat-out filmi-ness because it is trying to appeal to many constituencies.
          A song to celebrate the onset of menstruation of a little girl uses the problematic word ‘nakel’, means ‘to be led by the nose’. The song gives the perennially weepy Gayatri to swing her waist but achieves little else. The arrival of perky city girl Pari (Kapoor) perks up the proceedings, even if she is used to invoking a clumsy, after-the-thought romantic angle. Pari’s character is a figment of the filmmakers’ imagination. She ‘helps’ Lakshmikant realize his dreams, speaking to the urban girls who call their periods ‘chums’; the ‘seedha-palla’ wearing Gayatri is the spokesperson for those who call it ‘maahvaari’ or ‘mahina’. The solution of ‘have-pad-will-solve-menstrual-problems’ is simplistic, and yes, patriarchal.
          A little nuance would have gone a long way in making PadMan deeper and more satisfyingly complex, but this is not that kind of film. It is the kind of film which has to focus on its big male star for obvious reasons. We are left with the man of the movie, and the reason why this film has been made. Akshay gets fully into the role while trying to get in touch with the ‘feminine’. He is both earnest and likable and familiar do-go mode. PadMan paid as much attention to its medium as its message.