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ritics often praised portrayal of the subject matter in Dangal. Rachit Gupta of Filmfare magazine gave the film a full five star rating calling it "perfect in every sense of the word." He added, "The film's direction and writing is so riveting that it coaxes it's viewer to stand up and applaud. Great editing and filmmaking technique aside, Dangal features wrestling matches that are authentic and real." Meena Iyer of The Times of India called it "inspiring and entertaining" and awarded a four-and-a-half out of five star rating. She commended the writing of being for "tongue-in-cheek quality, peppered with humour and several poignant father-daughter emotions." Shubhra Gupta of The Indian Express gave a three out of five star rating and stated that the film worked on two parameters: that it is a "straight-forward film about a popular sport" and the "strong feminist statement about girls being the equal of boys, if not better, in an area they've never been seen, let alone accepted." Saibal Chatterjee of NDTV gave the film four out of five stars and calling it a "hugely entertaining sporting saga", pointed out that unlike other Bollywood films, Dangal does not "go for broke in terms of melodramatic flourish" and that it refrains from "demonstrative chest-thumping and flag-waving". He felt it blended "humour with intensity, and intimacy with spectacle, to perfection." Ananya Bhattacharya of India Today gave a four out of five star rating and wrote, "the fights, emotional turmoil, the father-daughter tiffs, take centre-stage in Dangal." She added, "Tiwari uses every single trope in the book of Bollywood sports films ... with a freshness and expertise seldom seen." Awarding the film a full five stars, Rohit Bhatnagar of Deccan Chronicle called it "an unmissable epic". Terming the narrat ive "engaging to the core", he drew comparisons to Chak De! India, while commending the acting performances and cinematography. Sukanya Verma of Rediff.com felt that Dangal was "one of those few films that discuss strategy and technique in a manner that's easy and entertaining to grasp". Calling it an "exhilarating creation" and praising the acting performances, she wrote, "the raw, rough, visceral choreography of the fights ... evokes sheer awe". Lisa Tsering of The Hollywood Reporter felt the film is driven by "emotional resonance, technical artistry and compelling performances" while adding that "it's so thrilling to watch. Not only do the family scenes ring true, but Tiwari approaches the wrestling sequences with intelligence and sensitivity." There is not a trace of superstar about Aamir Khan or a hint of vanity. For most of the film, he's an old, overweight man. Given the Bollywood obsession with looking y outhful and flaunting six packs, this itself is an act of courage. But Aamir doesn't just look the part. He also becomes it. He is by turns, ferocious and tender ... It's a masterful performance. Anupama Chopra of Film Companion While commending the acting performances of all the lead actors, most critics focused praise on Khan's performance. Deepa Gauri of Khaleej Times wrote that Khan "puts in such an earnest and inspired performance that will go down in the history of Indian cinema as one of the finest." Maitland McDonagh wrote for Film Journal International that "ll four actresses playing Geeta and Babita are strikingly good, and Khan stands out as the deeply flawed Mahavir." Aniruddha Guha of MensXP.com thought that Khan captured the character's "highs and lows with flourish" and called it a "truly great performance", while adding that "the girls of 'Dangal' are a real find." Rohit Vats of Hindustan Time s called it "best performance till date". Raja Sen of Rediff.com felt Khan's character was "both fascinating and flawed" and added that he is "a winner utterly sure of his beliefs who bends the world around him to his will. It is the performance of a lifetime". Baradwaj Rangan of The Hindu noted in his personal blog that Khan brought out the contradicting nature of the character "beautifully" and called it "one of his finest performances." Variety magazine's Owen Gleiberman felt that Khan, despite looking like a "jock version of Salman Rushdie ... with a tight-lipped mask, finds a hundred ways to communicate emotion." The film had its share of detractors who, while praising the narrative and performances, felt that the concept of feminism portrayed in the film was flawed. They pointed out that the wrestler-father, in pursuit of his goal of winning a medal for the country, trains his daughters against their will. Re viewing for The Hindu, Namrata Joshi wrote that the film despite aiming not to hide "chinks in the feminist armour", it does not explore its "dilemmas and complexities" and only "brush things under the easy nationalistic carpet" by "justifying everything with "nation before the individual" logic." She complained of the "easy celebration of the supposed fall of patriarchy" depicted in the film and maintained that "men actually still remain very much in control." The view was echoed by Vartika Pande, in her "Feminist Reading" of the film for feminisminindia.com, who wrote, "Dangal ends up being a film about a patriarch at the helm who "empowers" women and obviously takes all the accolades." Al Jazeera's Azad Essa, while reviewing the film for Independent Online observed that "the elevation of women is still a manifestation of an unfulfilled male dream. It is the male coach who emerges as the true hero, and not the women." Strong responses on similar lines from a small section of the Chinese viewers met the film, where, following the release, a fresh debate on feminism began. A viewer complained that the film "reeks of patriarchy and male chauvinism". Criticism was also directed at other areas of the film such as the characterization of the coach at the academy. Uday Bhatia of Mint felt it was "incompetent and vindictive". Rajeev Masand felt it was "shoddy" and that the "twist in the film's final act ... came off as completely unconvincing". Tanul Thakur of TheWire.in also felt that the coach was "reduced to a caricature" and that "he simply exists because Aamir can beco