Archive for the ‘Prasenjit’ Category

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A couple falls in love, gets married and thereafter separates. They meet quite unexpectedly fifteen years later on a train journey where the man (Prasenjit)’s second wife (Aparajita Auddy) befriends the former spouse (Rituparna Sengupta). A group of singers (Anindyo Chattopadhyay, Surojit, Anupam Roy), an elderly couple (Soumitro Chattopadhyay, Sabitri Chattopadhyay) & a newlywed couple on their honeymoon are also on this train bound for Kolkata from Mumbai.
The situation look somewhat implausible though the film remains immensely watchable. A highlight would certainly be that of Soumitro Chattopadhyay reciting Tagore’s poem HATATH DEKHA. A hilarious sequence is Sabitri Chattopadhyay’s attempt at speaking Hindi laced in heavy Bengali. In a TV show on Zee Bangla the Bengali director Prabhat Roy said “The technical qualities of PRAKTHAN is of a very high standard.” In the same TV show the actors who acted in the film revealed that the renowned art director Nitish Roy created such an authentic set that it looked like exactly like a real train.
The production work of the film was done entirely in Kolkata and use of drones were made of for the first time in Bengali cinema for high angle shots of landmarks of Kolkata. The supporting cast includes Manali De and others.

The film has been directed by the duo Siboprasad Mukhopadhyay – Nandita Roy.
Rating: 3.5 out f 5

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Force (2014)

Posted: December 19, 2016 in Bangla 2010-2020, Bengali films, Prasenjit

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For quite some time I had given up hope on mainstream Bengali films. But films like FORCE reinforces the belief that commercial Bangla films can be meaningful, entertaining and successful in showing societal issues of concern, like it was during the heydays of Uttam Kumar and Soumitro Chattopadhyay.

Prasenjit has matured to become one of the finest actors of contemporary Indian cinema. Just watch some of his recent films like MONER MANUSH, JAATISWAR, DOSAR or this one to marvel at his histrionic range. As a tough cop saddled with a special child, Prasenjit is brilliant. He works hard as a single parent to provide his child the normal upbringing necessary to grow up in life. Through love, training and dedication the child overcomes his disabilities and does well in athletic. He eventually takes up the profession of his father. Arpita Chatterjee in the role of a teacher of the special child does a commendable job. The child also deserves kudos for a great performance.

Among the songs, a particular number by Usha Uthup was quite lively…

Rating: 3.8 out of 5  

Path Bhola  1986 Tapas Pal, Prasenjit, Nayana Das, Utpal Dutta, Sandhya Roy, Abhishek Chattopadhyay, Nayna Das

This Tarun Mazumdar film narrates the tale of five youths running from the law. Their ignorance in reading the dubiousness of their employer engaged in adulterated pharmaceutical business played a cruel joke on them, and while trying to flee during a ‘cop raid’ in the factory where they worked, they had to bump off a cop or two during the gun battle that had resulted.  They take shelter in a remote village in the house of an elderly man (Utpal Dutta) who lives with his daughter-in-law (Sandhya Roy) and their ‘dumb’ servant.

What follows is a reformist tale – the youth are exposed to the duality of rural life which is a mix of extreme hardship and the joys and fellow-feeling among the tribal. Peppered with a liberal dose of patriotism through the invocation of the contributions by Khudiram Bose and Surja Sen and of the son of the elderly man who was shot while trying to escape from Andaman Jail, the director manages to make the film a message ridden watchable fare.

As usual, TM uses Rabindrasangeet like ‘Sedin Dujone..’  during the romantic sequence between Prasenjit and Noyana. Tapas Pal, Prasenjit and Noyana Das act in pivotal roles.

Rating: 3.5 out of 5

One looks forward to a new Gautam Ghose offering with great expectation. The Indo-Bangladesh production SHANKHACHIL , the newest from the veteran director, has his signature style written all over – the marvelous photography, great music and terrific performances from the lead cast. Prasenjit is wonderful in the role of a teacher in a village in Bangladesh bordering India. It is a performance worthy of a National award and overlooking the tremendous work by this maturing actor over the past several years at the National awards is highly unjust.
Like Ghatak (to whom the film is dedicated) GG rues the plight of Bengalis segregated into two Nations. Through his Muslim protagonist Badal (Prasenjit) we get a glimpse of the deep reverence for Tagore that exist in that country. In an early sequence, the farcical division that was created between the two Nations is highlighted. The protagonist Badal lives a happy life in Bangladesh with his wife and daughter Roopsa. Roopsa is a bright girl, inquisitive by nature and always seen with a magnifying glass in her hand. She falls seriously ill and need to be immediately hospitalized. The nearest hospital is in the town of Taki in West Bengal in India..’
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Can’t helpless people living in the border areas be allowed medical facilities in the neighbouring country on humane ground? Why do we have to conceal our identities and illegally avail of medical expertise in that country? How has partition improved the lives of citizens of the country, especially those living in border areas? The narrative unfolds at a sedate pace. The story is simplistic but heart-rending and the film progresses through some great cinematography. No one can match GG in technical finesse which has been the hallmark of several of his award winning works.
The film succeed in making some forceful statement. In an initial sequence Badal says “Our biggest identity is not our religion, but our language. We’re Bengalis, not only Muslims. When India was partitioned in 1947, Bangladesh became a part of Pakistan. The following year Jinnah promulgated that Urdu would be made the National language of Pakistan, and other languages relegated to a subordinate level. This formed the seed of the war of liberation in 1971 over the issue of language and the formation of Bangladesh.”
The film is a bit patchy in parts but overall it is engaging. I would have liked it more had it ended on a positive note. btw, when Roopsa was undergoing treatment in hospital, what did that out of place nightly bike sequence implied?
The concluding sequence showing birds freely moving across the fence at the border is a directorial assertion that chaining humans and segregating on basis of nationality in modern times reek of dominance by the regressive forces of such Nations. The film won the Best Bengali film at the National awards this year. Dipankar Dey and Mukul Vaid act in supporting roles.
Rating: 4 out of 5

UNISHE APRIL marked the arrival of Rituparno Ghosh as a major filmmaker. Though it was his second film, it catapulted him into prominence winning quite a few National Awards in its wake. The strong point of UA is its performances – Aparna Sen and Debasree Roy act superbly in this mother-daughter tale of a missing bond between them. The film is inspired by Bergman’s AUTUMN SONATA.

The weakness of the film lies in part on the script – it is a bit strange to hear that when Aditi (Debasree Roy) is in deep love with a Delhi based boy (Prasenjit) and their relationship was on for quite some time yet the fact that Aditi’s mother is a Nationally renowned dancer is unknown to her paramour. The harping on suicide as a release from inner turmoil and the outside storm sequence during the night symbolising the inner turmoil of Aditi appear rather cliched (even Satyajit Ray did this in CHARULATA towards the climax) . The supporting cast includes Dipankar Dey, Boddiswata Mazumdar and others.

The story and screenplay of the film is credited to Rituparno Ghosh.

Rating: 3.9 out of 5

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Films depicting contemporary reality without compromising is a rare commodity. That is why Tapan Sinha’s ATANKA hits you very hard. I can’t recall any Bengali film depicting the loss of Bengali heritage and high culture and constantly cautioning us about it in such a forceful manner as ATANKA. “Bangalir hathe chaku, bangalir hathe khoon, era kara?” – this dialogue from the film laments the decline of the community where political killings have become rampant.

In this film, an upright teacher (Soumitro Chatterjee) is witness to a murder committed by one of his ex-students (Sumanta Mukhopadhyay). The local goons start terrorising the teacher…the film highlights the dubiousness of the political class and how they misuse the local youths and the police. Soumitro Chaterjee is brilliant as the oppressed teacher and his expression with fear written all over exemplifies the nuanced performance one has come to associate with the veteran actor – a favourite of all Bengali arthouse directors. The supporting cast includes Prasenjit, Manoj Mitra, Anil Chaterjee, Arijit Guha and others.

Rating: 4.4 out of 5

 

 

DOSAR (The Companion) directed by Rituparno Ghosh was based on a story by Shirshendu Mukhopadhyay. The film was shot in b & w, and the frames are hauntingly beautiful. Like his ABOHOMAN this film too dwells on the premise of illegitimate relationships – this time around of an executive (Prasenjit) who has a dalliance with his secretary Mita (Chandreye Ghosh) during weekend in some hill station. In one of their return trip, they meet with an accident in which Mita dies. The film traces the trauma and inner turmoil of the wife (Konkana Sen Sharma) to come to terms with the fact of a philandering husband who is hospitalised and need to be nursed back to good health.

The film is marred by too many illegitimate relationships making us wonder whether fidelity has become passe nowadays. Others in the cast include Parambrata Chattopadhyay, Pallavi Chaterjee and Sankar Chakraborty.

Rating: 3.5 out of 5