Esha Deol returned to act together with a reversal of the producer with Ek Duaa. Directed by Ram Kamal Mukherjee, this film seeks to show off crimes of gender discrimination but ends as a piece of convoluted storytelling.
Esha Deol Stars as abeda, a housewife violated, tries to fulfil the needs of her humble house.
While on the one hand, Suleman’s husband’s taxi driver (Rajveer Ankur Singh) struggled to fulfil the family financial requirements. They missed Abeda’s mother-in-law for other grandchildren. Who, according to him, would be ‘barking’ (blessing) for families and growing to become an additional income member.
Every two starts with abeda running through a crowded market. He slid through the meat shop, whose owner rebuked him because he did not pay a long drawn contribution.
A similar situation occurred with vegetable vendors. Abeda was accompanied by a princess (so told us at first), who had looked at a pink dress. But a shopkeeper drove the duo because he was also aware of their limited finance. The whole process feels gradual, almost difficult to establish a simple family financial capacity..
Back home, Abeda steers clear of his mother-in-law, an apparent past tension. He prepared his son’s school while his daughter, named Duaa, saw it. Children go with Suleman for school, two call them out, but none of them turns their backs or pays attention. Abeda continued with that day and asked for two to play.
Suleman, who moved his father’s old taxi, struggled to sustain himself and his family. When a friend suggested selling a taxi and joined the corporate taxi company. Suleman said he could not because it was the only remaining from his father’s memory. Singh failed to put emotions. His acting almost borders on the shallow. The physical contrasts with Suleman, which should be frustrated, worried about life, a weathered man. The lack of Singh’s belief in the character and expression of Deadpan was quite booming.
When the film was decomposed:
We find that Abeda lost his first child because of a miscarriage (planned by his mother-in-law, the film revealed), making him trauma. However, because every layer reveals. We see films peering into the waters of female and patriarchal feticide muddy holding a woman’s body. During his first pregnancy, Abeda’s mother-in-law chose to do sex determination, which was illegal in India.
After knowing that Abeda had a daughter, he forced him to have an abortion, a lot of Abeda’s desire. Suleman, who accompanied the two women to the hospital. Tried hard to break up the argument and rebuked Abeda by saying, “Ammi must have thought well about it.” Not affected by the lack of support, Abeda accommodated his land, refused to have an abortion, but lose his fight.
Under the constant pressure of his mother to ‘complete the’ family, Suleman decided to have another child without consulting abeda, his wife, bearer of his children. Abeda, which is still traumatized by the past, tried the final effort to change the mind of Suleman and offered contraception to him, which he destroyed and threw from the hands of Abeda.
The film rotates around Parenthood and the right of a woman to an abortion. If you are wondering why there are quotes and s after their name in the movie title, it is the way the director gives its agency and emphasizes that and always must be a female decision.
Ek tweezes are brave efforts to display female agents on their bodies but are intermittent due to lousy acting shows and thin plotlines. Conservative settings do not need to fail to create dramatic tensions in narratives and finally lose the opportunity to convey important messages.