Archive for the ‘Prasenjit’ Category


DHRISTIKONE – A woman (Rituparna Sengupta) who loses her husband (Kaushik Sen) in a mysterious car accident hires a married lawyer (Praenjit Chaterjee). An adulterous affair ensue … there is intrigue in the plot at multiple levels – in the case the lawyer is fighting for his client and the relationship he gets drawn into. The wife (Churni Ganguly) gradually gets to know about the transgression of her lawyer husband. The other characters like the brother of the deceased (Kaushik Ganguly) , wheel-chair bound (he was in the same car with his brother which met with an accident), and his maid (Dolon Roy) have intrigue written all over the narrative.

The film touches upon issues of familial love and infedility, human greed and the resultant consequences & an irrational need to cling on to the departed. The end is satisfying containing an interesting twist in the tale. Well-directed by Kaushik Ganguly.

Rating: 4 out of 5


Movies on father-son relationship bring out facets of life in various hues. Some notable works like Wender’s Paris Texas, Ray’s Apur Sansar or Anjan Dutt’s Dutta vs. Dutta comes to mind that had this relationship at the centrality in the narrative. Atanu Ghosh’s National award-winning film Mayurrakshi (2017) is a welcome addition to the list …

Mayurakshi: A must watch for all gen

In this film the father (Soumitro Chattopadhyay) plays a widower and a retired Professor of History (an erudite person possessing knowledge in music and many subjects) suffering from old age problems and dimentia. A caretaker (Sudipta Chakraborty) looks after him. The son (Prasenjit Chattopadhyay) arrives from Chicago to see his ailing dad … dad has suffered memory loss and longs to meet Mayurrakshi, his student and the girl/woman the son had spurned in marriage when the alliance was suggested by the father … the film explores dimensions of love and loneliness, the plight of the ambitious younger generation living in a separate country having ailing parents back home and the connect/disconnect that exist between them… the sombre mood of the  film incorporates exquisite imagery and fine story-telling to make this film a memorable work.

The acting of the two lead performers is top notch. Indrani Halder does a cameo …the film is directed by Atanu Ghosh (Angsumaner Chobi, Abby Sen). The film was adjudged the Best Bengali film at the National awards this year.

Rating: 4.2 out of 5  


Image result for cockpit movie

It is heartening to find the new breed of promising filmmakers from Bengal breaking out of the Mrinal-Satyajit-Ritwik mould of intense filmmaking and tackle subjects that are fresh and unchartered. Srijit Mukherjee, Anjan Dutt, Aniruddha Rai Choudhuri & Kamleshwar Mukherjee are exploring themes on a broader canvas beyond conventional settings, though admittedly, have to show greater mastery at their craft to reach anywhere near the level of the masters of Bengali cinema.

COCKPIT directed by Kamleshwar Mukherjee featuring Dev as a born pilot encountering turbulent weather on one such occasion which progresses towards a near-death experience for the passengers before a gallant effort by the Captain Pilot saves the day and the aircraft from crashing. Though the film has commercial elements in terms of songs and romantic angles, this work inspired by real life incidents is quite watchable.

The director certainly deserves an applause for making a film (possibly the  first in Indian cinema) on on life-threatening turbulence encounter on the skies by an aircraft with onboard passengers. Don’t expect a SULLY but certainly worth a dekko.

The supporting cast includes Prasenjit, Koel Mullick, Rukmini Moitra, Paran Bandopadhyay and others.

Rating: 3.5 out of 5


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

Force (2014)

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


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..’
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