Archive for the ‘Saswata Chattopadhyay’ Category

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A successful middle aged businessman is endowed with a special charm that is irresistible to women. Obviously, they’re a dime a dozen in this intriguing tale of detective Shabor Dasgupta (Saswata Chattopadhyay in the role of the private eye) penned by Shirsendu Mukhopadhyay. There’s the wife Shivangi (Maya Ahson), her friend Nandita (Payel Sarkar) who gets murdered, the wife’s sister who lands down from Singapore and her servant Janvi…
There is suspense, consequences of child abuse, conflict of good and evil, of the duality arising from the distinction between the conscious and the sub-conscious …
The unfolding of the narrative is gripping. The actors perform superbly. June Mallya acts as a psychiatrist in a supporting role. The film is directed by Arindam Sil.
Rating: 3.8 out of 5

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The film ABORTO deals partly with relationships, and also weaves in corporate politics and rivalry into the narrative. In the past we have seen films based around corporates – the Satyajit Ray films SEEMABADDHA & MAHANAGAR & the Madhur Bhandarkar CORPORATE comes to mind. The film doesn’t borrow from the mentioned films and demonstrates the director Arindam Sil’s competency in handling several characters.

The ensemble cast of Tota Ray Chaudhury, Joya Ahsan, Saswata Chatterjee, Reshmi Ghosh, Abir Chatterjee, Pijush Ganguly, Ritwik Chakraborty, Barun Chanda, Arindam Sil & a wonderful cameo by Kaushik Ganguly add to the strength of the film. Some of the characters are weak though. The clicking of clandestine photos of the philandering executive (Tota RC) with his secretary (Reshma G) by the rustic Ritwik Chakraborty which was obviously something the management would have probed further in the light of character assassination of a senior member appeared rather out of place in the scheme of the wily opponent (Saswata C).

An improved script could have truly made this a memorable film.

Rating: 3.9 out of 5

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The film, directed by Rana Basu, is based on a story Trata by Dibyendu Palit. The basic story revolves around a cowardly clerk (Rajatava Dutta) who is unable to face the challenges and adversities of life with courage and crumbles at the slightest provocation. The clerk lives with his family comprising of his wife (Rupa Ganguly), and a daughter and a son. The son lives in a boarding and occasionally visits his family during vacations.
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Rajatava has not been paying his rent to his land owner for quite a few months, who decide to throw him out of the house. The land lord cuts off the water supply. To solve his problem, Rajatava approaches the local goon (Saswato Chaterjee) who agrees to help him. Gradually, Saswato begins eyeing both Rupa Ganguly and her daughter…
The film ends on a tragic note, with Saswato locking Rupa Ganguly inside a room to defile her, and our protagonist weeps inconsolably outside the door. He is such a coward that he doesn’t display any kind of retribution even at this point.
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I haven’t read the original story which was written about 20 years back. The film story doesn’t offer any solution. Should a film only present a realistic picture, however grim it might be, and end without throwing some light as to how such malaise can be purged from society? Goons like Saswato enjoyed political patronage and could indulge in criminal activities freely as shown in the film, but the director should have reflected and showed pointers as to how such elements would finally be brought to book.

Rating: 3 out of 5

Set around a Muslim community in a small village in West Bengal, Mrinal Sen’s AMAR BHUVAN is a comeback vehicle for the veteran director after a long hiatus. Deeply disturbed by the increasing violence in our society, Mrinal Sen has focused his lens on a theme of love this time around.

The film revolves around a triangle viz Meher(Kaushik Sen), Noor(Saswato Chaterjee) & Sakina(Nandita Das). Noor marries Sakina but soon seperates from her. He leaves for the Gulf and returns with pots of money and a wife after a few years. Meanwhile, Sakina has married Meher and they have three children. Meher somehow manages to eke out a livelihood through farming and other menial jobs. Noor and Meher are cousins, and Noor employs Meher on contract jobs because of his skill and efficiency. Meher also earns some money in the process.

The open shot of Noor moving in his swanky bike around the village highlights the social and economic changes in the lives of the rural folks. The director lovingly unfolds the love that permeates the existence of Meher and Sakina. Mrinal Sen is arguably the only Indian filmmaker who has attempted to capture the love and bonding that exists in the life of the downtrodden and carries it off with such finesse. While a streak of pessimism is generally woven into the narrative in any tale of the underpriviledged this work by Mrinalda is laced with warmth and unusual charm. One particular sequence that captures the transition between darkness and the first rays of daylight in two sequential shots is simply brilliant. Some of the lighter sequences like that of Meher fleeing from a money lender or buying a radio outside his means in order to make Sakina and his children happy contributes much to the charm of the film as a whole. A Rabindrasangeet by Srikanta Acharya MOMO CHITTE NRITYE NRITYA has been knitted into the film. The actors perform credibly though Nandita Das looks much too urbane in many sequences.

The film also marks a departure from Mrinalian style of ambiguous ending and does have a complete story. The film also reinforces the belief that cinema can be an effective tool for social analysis. The guiding philosophy behind this work seems to be a Charlie Chaplin quote. A favourite of the director, the tramp had once commented: “In this age of hidden suspicion, I try to speak of human compassion.”

Family relationship and the centrality of children in making happy homes can be discerned from the narrative. The amity in Hindu-Muslim relationship can also be inferred from the sudden appearance of Chatterjee Chacha (Arun Mukhopadhyay) in the feast given by Noor for the villagers towards the concluding portion and the way everyone especially the kids stoop down to touch his feet as a mark of respect.

Controversy and criticism are part and parcel of all the works by Mrinal Sen. I was witness to a few snide comments from the audience after the show. I heard some pundit say “Mrinal Sen himself doesn’t know what he’s trying to say.” Whatdidyasay? I would like to ask critics like him “is it obligatory for a filmmaker to tell only stories, a complete story in films and leave nothing for the interpretive faculty of the viewer?.” It is apparent that subtlety doesn’t always resonate with the general audience nowadays increasingly fed on a diet of escapist fare. Fine, but why be so critical with works by directors who doesn’t bother to toe your line, perhaps?.

This film celebrates the charms of the quotidian life, and was shot in the West Bengal town Taki. The river Icchamati flows nearby.. .In his career, Mrinal Sen has refrained from adapting the works of the big three of Bengali literature – Rabindranath Tagore, Sarat Chandra Chattopadhyay & Bankim Chandra Chattopadhyay. Apart from a short film based on a Tagore story ICCHAPURAN, Mrinal Sen has rarely taken refuge in Tagore like his peers (Ray, Tapan Singha & Ghatak) in his films. However, in his last film AMAR BHUBAN, Sen has made use of a popular Tagore song, and its harmonious blending with the narrative make us wish that Mrinal Sen had made more such films like AMAR BHUBAN in his career …

The film fetched Mrinal Sen the Best Director and Nandita Das the best actress award at the Cairo Film Festival.

Rating: 4 out of 5