A chaotic screenplay that wastes Taapsee's potential

Gandhari is a film that promises a tense and emotional thriller but unfortunately delivers a frustrating experience bogged down by many logic flaws, unnecessary scenes, and a chaotic narrative. In the beginning, the inciting incident—the kidnapping of the child on a train—is painfully obvious, weird, and forced. You watch the lady take the kid while Taapsee's character gives chase, yet no one helps her? The daughter's bag is left on the train, and the next thing you know, Gokul has it. If your kid is kidnapped, why are you so fucking free to get it back? The screenplay is also littered with unnecessary padding. The frequent flashback scenes between the mother and the daughter are meant to be touching but come off as fake, annoying, and obvious. There are just too many! We know she loves her daughter, but we don't need to be constantly reminded with scenes that feel manipulative rather than heartfelt. Character development is another major failure. Some characters appear with little to no background, leaving us clueless about who they are or why we should really care. For example, I am puzzled by the first act, in which Bani recognises a woman (Jhunu) immediately and talks to her with no background introduction. Even the police attack, which should be integral to a kidnapping thriller, feels pointless and contributes nothing helpful to the story. I expected Bani to have a collaboration with the police. Then there is a twist: Is Bani really losing her eyesight? After watching the film, it feels like a lie, a very cheap device used for dramatic effect that doesn't hold up to scrutiny. The plot holes pile up, including the absurdity that no one discovers her when she is hiding in a bag. Taapsee's performance is fine. She brings a raw intensity to the role, but she is completely wasted in this chaotic mess of a screenplay. The last act is arguably the most interesting part. The idea of Taapsee fighting against her husband is clever, and it’s worth thinking about the characters from their own perspectives: the dad wants a daughter, while the mum wants all daughters. The concept of a mother’s sacrifice is remarkable and is the emotional core the movie should have focused on. Although the fight is conceptually interesting, the execution is too much—the relationship is portrayed as two people who want each other dead, which is a jarring note that makes the whole thing feel over-the-top. It’s also weird that Taapsee’s character can suddenly beat the big villain in a few minutes despite her limited eyesight. The trope of her getting a sudden burst of energy when the kid calls her "mum" feels corny. Gandhari has a fascinating premise about maternal love and sacrifice, but it is buried under lazy writing and a lack of logic. It’s a disappointing watch that will leave you more frustrated than thrilled.