Producer: Jhamu Sughand 
Director: Mahesh Manjrekar 
Cast: Tabu, Sachin Khedekar, Mohnish Behl, Smita Jaykar, Sunil Barve, Ravindra Mankani 
Music: Sukhwinder Singh 

The film though having an off-beat subject may be lapped up by the feminist, for it is made from the women's point of view. However, it is superficial especially in the climax in its attitude as it is after all made by a man!

Oh! Sure! Mahesh Manjrekar undoubtedly has the best of intentions in putting across the sufferings of an ordinary housewife, but the truth is, being a man, his way of saying it is devoid of depth in feelings and comes out as a shallow and somewhat crude statement which is not in the least convincing.

Hence, when Aditi (Tabu), 'happily' married to an uncaring, churlish, unfaithful man Shrikant Pandit (Sachin Khedekar) for 27 years is forced into a confession of a one-night stand long long ago, with her music teacher Malhar Kamat (Mohnish Bahl) in the presence of his liberal minded friends (Ravindra Mankani and Smita Jaykar) and son Aniket (Sunil Barve) comes as no surprise, but what comes as a shock is Aditi confessing to this scenario in the first place.

Similarly, if it was Aditi who had been taking the pains to take care of the family for 27 years, including bringing up her son, would the well-brought up son abuse the mother with the choicest of 'phrases'?. The natural reaction of a mother in such a situation would have been a resounding 'slap', instead Aditi slumps down with her head in her hands and sobs! It is reactions and counter reactions such as these that Mahesh has overlooked and conveniently side-stepped.

Another drawback is that Mahesh has unwittingly drawn a statement somewhere which implies that a husband-wife relationship can just not be compatible. It seems to indirectly advocate a 'tit-for-tat' attitude in the relationship. When Aditi says, that what is right for the man is right for the woman, since thery have the same physical needs, does the underlying statement mean that both can freely go and seek sexual satisfaction wherever they choose? Is a woman justified in taking a lover if she is feeling lonely (read as bored)or for that matter, a man justified in having an affair at his whims? A lot of queries about the husband wife relationship remains unanswered.

Mahesh has made all the characters such cardboard cut-outs that it detracts from the basic plot of the film. In an attempt to appeal to the feminist section of the audience, the 'man' in Mahesh has fumbled making the whole story unconvincing.

Hence, the monologue from Aditi at the end contradicts the character she 'plays' for 27 years of her life. Suddenly she speaks on women's rights and you wonder as to which closet this character has popped out of.

Aditi, resident of Pune, aged 47, packs her bags and leaves the house to begin life a new... to find her 'astitva'... but for you the story ends there. The real drama would have been in unfolding the life of Aditi therafer, the real story would have been in the chase for that new identify which elusive.

Ravindra Mankani and Smita Jaykar are okay. Sachin Khedekar as the uncaring husband lives his role. Tabu alone rises above the one dimensional role with an excellent performance. The surprise is Mohnish Bahl, who we see enacting a very different character from his usual villainy.