Based on Amrita Pritam's famous novel of the same name, Chandraprakash Dwivedi's debut feature attempts to raise the issue of abducted women and shares a thematic similarity with Khamosh Pani.
However, the film attempts to pander to popular tastes with the inclusion of a 'star' actor like Urmila Matondkar, who hams and overacts her way through the film, many avoidable songs, and excessive use of bright colours without any conception of mood and period, not-so-oblique parallels drawn to the story of Ramayana and tacitly referring to the abductor as a Ravana, inept handling of key moments, demonising of Muslim characters except the anti-hero and thus allying itself to the Hindutva agenda.
It thus becomes a far lesser film than what one would have expected from such a poignant story rife with potential about a subject that had not before been handled on film: the recovery of abducted women.
However, it does manage in depicting the plight of women who had either been rendered helpless liabilities or mere objects meant for men to wreck vengeance and bring dishonour on the opposite community during Partition.
Image: By pandering blindly to the Hindutva agenda, Pinjar becomes a much lesser film that what it could have been