Review: ‘Gandhari’ Struggles to Find Its Soul Amidst a Clutter of Thriller Tropes

The premise of Gandhari is one that promises high-stakes emotional intensity: a young girl is abducted in broad daylight from a quiet West Bengal town, plunging her parents, Bani (Taapsee Pannu) and Gokul (Ishwak Singh), into a nightmare of guilt and desperation. When the search leads the couple toward a harrowing child-trafficking ring, the stakes are raised further by a tragic twist—Bani loses her eyesight.

However, despite its gripping setup, the film—directed by Devashish Makhija—struggles to balance its ambitious narrative goals. While it is clearly designed to evoke the spirit of atmospheric, woman-led thrillers like Kahaani, it ultimately falls short of that standard.

A Departure from Emotional Depth

Where Kahaani thrived on restraint and immersive storytelling, Gandhari often opts for volume over nuance. Taapsee Pannu, an actor known for her ability to convey complex internal conflicts, is here tasked with becoming an action-oriented protagonist. The film pushes her into theatrical fight sequences that, while physically impressive, often overshadow the character’s emotional journey. By prioritizing the “action hero” archetype, the film loses the vulnerability and raw desperation that should have been the heart of the story.

The screenplay, penned by Kanika Dhillon, suffers from an “everything-but-the-kitchen-sink” approach. By cramming in abduction, human trafficking, revenge, disability, and a plethora of genre tropes, the film fails to give its central themes—parental grief and female rage—the space to breathe. The plot twists feel engineered rather than organic, often reminding the audience that they are watching a calculated construction rather than a genuine, terrifying experience.

The Power of Performance

Despite the narrative clutter, the film is elevated by its supporting cast. Swastika Mukherjee stands out as a silent, mysterious observer, bringing an unsettling, magnetic stillness to the screen that the film otherwise lacks. Mita Vashisht provides necessary gravitas, while talented actors like Ishwak Singh, Jatin Sarna, and Chhaya Kadam are regrettably underutilized in roles that offer little room for their range.

The film also falters in its attempt to capture a specific sense of place. While set in West Bengal, the aesthetic often feels generic, lacking the authentic texture that truly grounds a regional thriller. Furthermore, the reliance on dated villain tropes and an over-the-top, 90s-style action climax feels jarring against the backdrop of a modern, female-centric thriller.

The Verdict

Ultimately, Gandhari is a film of missed opportunities. It possesses the ingredients of a high-tension drama but lacks the necessary discipline to let those ingredients coalesce. It attempts to be a bit of everything—a chase thriller, a revenge drama, and a commentary on motherhood—but in trying to do it all, it loses its focus on the most vital element of any suspense story: the audience’s emotional connection to the characters.

For those curious to see how the film fares against other recent genre entries, you can read the full Gandhari movie review for a deeper breakdown of its execution. While Gandhari showcases Taapsee Pannu’s commitment to physical roles, it serves as a reminder that even the most compelling premise can be undone by a lack of narrative restraint.