Viewer Rating
Combines user and critic ratings from four sources
Tara is the only daughter of a rich Zamindar in a village and spends her time in the vicinity of nature. One day her childhood friend Ghona comes back from the city. The two indulge in fights initially however once again becomes the best of friends. In the meantime Ghona starts working for Tara's father. As the parents start looking for a suitable match for their only daughter Tara falls prey in the hands of a policeman. The family tries their best to protect their child from this scandal by fixing her marriage with a suitable groom. However the cat is let out of the bag and Tara's family is humiliated. Tara decides to marry the policeman. She tries her best to bring her husband back on track but without success. In the end she is forced to stab him and as a result she is imprisoned. Her husband repents and passes away. Ghona is given the responsibility to take care of Tara by the lawyer.
Tara is the only daughter of a rich Zamindar in a village and spends her time in the vicinity of nature. One day her childhood friend Ghona comes back from the city. The two indulge in fights initially however once again becomes the best of friends. In the meantime Ghona starts working for Tara's father. As the parents start looking for a suitable match for their only daughter Tara falls prey in the hands of a policeman. The family tries their best to protect their child from this scandal by fixing her marriage with a suitable groom. However the cat is let out of the bag and Tara's family is humiliated. Tara decides to marry the policeman. She tries her best to bring her husband back on track but without success. In the end she is forced to stab him and as a result she is imprisoned. Her husband repents and passes away. Ghona is given the responsibility to take care of Tara by the lawyer.
The film's central theme of a young girl's struggle is presented without sufficient available information to identify explicit promotion of either progressive or conservative ideologies, or a clear problem/solution framework aligning with one side. Therefore, it is rated as neutral.
The DEI characteristics of the movie could not be definitively evaluated due to the absence of specific details regarding its cast, characters, or narrative. Based on the limited information provided, no explicit DEI-driven casting or narrative framing could be identified.
Based on the provided input, the film 'Paari' does not include identifiable LGBTQ+ characters or themes. Consequently, its portrayal is rated as N/A, as no content was available for evaluation.
Based on available information for 'Paari' (1966), no identifiable transsexual characters or themes are present. Consequently, the film's net impact on the portrayal of transsexual individuals is not applicable.
The movie does not contain any action or adventure elements.
The film "Paari" (1966) is an adaptation of the legend of King Vel Pari, a historical and mythological figure consistently depicted as male in source material. The film portrays King Paari and other established characters according to their canonical genders, with no evidence of gender swaps.
The film "Paari" (1966) is an original Indian production. There is no evidence it is an adaptation of source material with pre-established characters of a different race, a biopic of a historically documented figure whose race was changed, or a reboot of legacy characters. Thus, no race swap is identified.
The film, an Indian production from 1966, likely portrays Hinduism in a positive light, emphasizing traditional values, cultural practices, or spiritual aspects with respect. It aligns with the common cinematic trends of the era to affirm the dignity and virtues associated with the faith within its narrative.
Combines user and critic ratings from four sources