Dangal 2016 FullMovie HD Download

Dangal is a 2016 Indian Hindi-language biographical sports drama film directed by Nitesh Tiwari. It stars Aamir Khan as Mahavir Singh Phogat, who taught wrestling to his daughters Geeta Phogat and Babita Kumari. The former is India’s first female wrestler to win at the 2010 Commonwealth Games, where she won the gold medal (55 kg). Her sister Babita Kumari won the silver (51 kg). “Dangal” is the Hindi term for “a wrestling competition”. The music for Dangal was composed by Pritam, while the lyrics were written by Amitabh Bhattacharya. Kripa Shankar Bishnoi, a coach with the Indian women’s wrestling team, trained Aamir Khan and the entire crew for the wrestling sequences.

Dangal Cast & Crew: 

  • Aamir Khan as Mahavir Singh Phogat
  • Sakshi Tanwar as Daya Shobha Kaur, wife of Mahavir Singh Phogat
  • Fatima Sana Shaikh as Geeta Phogat, daughter of Mahavir Singh Phogat
  • Zaira Wasim as young Geeta
  • Sanya Malhotra as Babita Kumari, daughter of Mahavir Singh Phogat
  • Suhani Bhatnagar as young Babita
  • Rohit Shankarwar
  • Vivan Bhatena
  • Aparshakti Khurrana
  • Kaustubh Pile as Male Fighter No.2
  • Girish Kulkarni as Coach Pramod Kadam

Dangal Story:

“Dangal,” one-trap residential games show that delays for two hours and 40 minutes. “Lagaan,” which was near four hours, earned each moment of its running time, however, “Dangal” is only a thin rousing story extended well past the point that U.S. gatherings of people will have much persistence for it.

It depends on the genuine story of Mahavir Singh Phogat, a novice wrestler who lived for the glad long for seeing his nation bring home athletic “gold.” (It sounds like he’s discussing the Olympics, yet he implies any global rivalry.) Due to an absence of government games financing, Mahavir couldn’t go for the gold himself (he turned into an office laborer). So he took his two eldest little girls, Geeta and Babita, and transformed them into aggressive wrestlers, cutting contrary to what would be expected of what Indian culture needed and anticipated that young ladies would be.

In “Dangal,” is Mahavir a tyrannical stage father, utilizing his children to experience his fizzled dreams? Undoubtedly. That is the reason he petitions have children. Be that as it may, when God favors him with little girls, he exchanges his fixation on trim a champion right onto them; as a mentor, he’s both an overbearing egomaniac and a true women’s activist. In the event that the motion picture has a subject, it’s that Mahavir is a patriarchal scholar constrained, by condition, to move into the 21st century. He’s a ton like India itself.

That implies, in addition to other things, that he will treat his little girls with no leniency. When they’re young people, he subjects them to an exhausting preparing regimen (most noticeably bad limitation: no hot sustenance), and the vital turning point comes when he removes their hair. It’s a considerable measure like a Marine cut; as the two see it, they’ve been shorn (mournfully) of their characters, which their dad will now modify starting from the earliest stage. There is — or could have been — a reverberation to the greater part of this. Be that as it may, Nitesh Tiwari, the chief of “Dangal,” works entirely at first glance. The motion picture isn’t a melodic, yet it has a ton of those tabla-meets-EDM Bollywood movie tracks, and when one of them is laid over a preparation montage, the impact is less Bollywood than treat cutter Hollywood. It’s what might as well be called viewing an American motion picture with a similar story featuring Greg Kinnear as the father/mentor and Dove Cameron and Lizzy Greene as the little girls, just with the banality preparing succession set to “Going to Make You Sweat (Everybody Dance Now).” “Dangal” is that sort of film.

At the point when the young ladies get more established, the film switches on-screen characters (the two more youthful ones, Zaira Wasim and Suhani Bhatnagar, are huge looked at urchins who scarcely enlist), and Fatima Sana Shaikh, who assumes control over the part of Geeta, develops as Khan’s co-star. She has a delicate, dimpled confront, yet with her hair trimmed she looks like an aggressively looped Kate Winslet, and there’s something touching in her commitment. Geeta is so wild, yet is so doing the will of her dad (which turns into her will), that she’s a progressive and a bowing supporter in the meantime. The film is much excessively ambiguous about the basic realities of female wrestling in India. In the main half, it suggests that Geeta and her sister are thinking outside the box — that they’re heading into young men’s territory, to the point that they must choose the option to wrestle young men. When they arrive at the National Sports Academy, where the mentor turns into an opponent to Mahavir, they’re all of a sudden part of an entire group of young ladies wrestlers. At the point when did that happen? You think Good for India, however, it renders the film’s adventure more traditional than it had suggested.

“Dangal” comes full circle in a title session at the Commonwealth Games in New Delhi, and Tiwari stages it well. Geeta needs to confront down an Australian wrestler with a crude boned hope to slaughter, and as much as any boxing show, the motion picture makes you feel the human savagery in them two. To up the ante, Mahavir isn’t even there; an enemy has truly secured him an office. Geeta, to be consistent with her dad’s fantasy, must do it all alone. There’s not really a minute in “Dangal” that doesn’t go as indicated by the numbers, however, following 160 minutes of the recipe, the motion picture unquestionably hits a note of touching tribute to the way young lady power is clearing the world.

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