‘Stree 2’: A fantastic fable propagating equal rights

While I have always been a fan of the Maddock Supernatural Universe, I cannot help but commend Amar Kaushik’s brilliant take on voicing his thoughts in favour of equal rights for women through “Stree 2”, his latest release.

While the film’s first instalment, released in 2018, was a delight for awakened souls juggling to find a firm stance in a gender-imbalanced social structure, the second one, released on August 15, reinforced the need for equal status for females with much more finesse and grandeur.

Packed with witty, naughty dialogues penned by Niren Bhatt, the horror comedy ensures laughter in every scene. Rajkukar Rao’s effortless projection of innocence, paired with Pankaj Tripathi’s and Aparshakti Khurana’s impeccable comic timing, adds splendor to the experience.

However, the spotlight of this unique production was Abhishek Banerjee, playing the infamous role of Vicky’s friend Jana—anxious, confused, and hilarious— all at the same time.

Shraddha Kapoor’s portrayal of ‘Vicky’s nameless girlfriend’, perhaps the only serious character in the production, is praiseworthy, especially in sequences involving action.

I, however, enjoyed Tamannaah Bhatia’s (as Shama) presence more—her poise, grace, and a mismatched yet symphonic chemistry with Tripathi. Her elegance in the song “Aaj Ki Raat”, trending on social media, requires no further validation.

The other, and most exquisite part of this Sachin–Jigar song, would be how an “item number” could be such a delightful watch for women. The composition of the number and its visualisation have been one of a kind, which I thoroughly enjoyed after Samantha’s “O Antava”.

I cannot help but admit how most cameos I come across seem enforced, out of place, and just the result of a good personal relationship between the actor and the director or producer. However, Kaushik’s incorporation of the character Bhaskar (played by Varun Dhawan in “Bhediya”) was smart and synchronised.

Coming to cameos, while most viewers were appalled by Akshay Kumar’s special appearance, most failed to notice how well he essayed the antagonistic role of Sarkata’s descendent. His pairing with Banerjee was simply brilliant, and hopefully casting directors will note their chemistry.

The overall harmonisation of myth and reality—conjoining the famous Uttarakhand-based folklore of Sarkata with the modern chauvinists—was such a beautifully crafted awakening call.

Made on a mere budget of Tk50 crore, the film earned almost Tk150 crore in the first two days of screening.

The collection came to me as no surprise, as the film— staying true to its commitment of uncompromised entertainment— has been one to remember this year and relish in years to come.

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