Tag Archives: Bodhaditya Banerjee

Nirbaak (2014)

Nirbaak review

written by Abhikendu Deb Roy.

Ratings: 3.5/5.

‘Learn to love yourself first. Everything else will fall into place.’

Four distinct subplots with the common denouement as death – We surely have heard of this before, in another Srijit Mukherji film. After filming Chotushkone, he tries this format again, but with an enriched and mature execution in his latest work, Nirbaak. Srijit infuses the theme of obsession luring in every subplot of the film. Narcissism, obsession with a living immobile object, the fixation of a bitch towards her master, the passion of a man for a cadaver – Srijit touches upon all the aspects of obsession in his 1 hour 49 minutes film.

Mukherji’s crew states that he loves his crew immensely, but he loves his film the most. This compassion is pretty much visible in his direction. Not only that, he is so possessive about his film that he pens down the script and the dialogues all by himself. He expatiates his script so much so that every intricate detail is translated on screen like magic. This film is not one such where we see conversations happening between the characters, it is a film where the characters’ emote and speak volumes for themselves.

When the structure of the film demands powerful performances, you need actors of that stature to exude their acting skills. Sushmita Sen, the thread that binds the four subplots, appears simply stunning, even with very less makeup. This non-glamorous side to the 1994 Miss Universe was something which was never explored before. Her voice and her ‘Bong’ accent bring in more appeal to the character. But it is the men of the film who steal the show. After one subplot ends, you start missing the man of that plot all the way more till the power of the next encroaches your mind. Anjan Dutt’s character is the conglomeration of the ‘naked’ truths of a loner. The magic he weaves on screen, all by himself, is powerful and can literally leave you speechless. This subplot, however, might bring a few frowns to the hypocritical section of our society. Jishu Sengupta, we all know, is a classy performer and Srijit brings out the best in him here. You are bound to empathize with the crimson red eyes, filled with fury, beating up his pet. The third and the last of the men brigade is Ritwick Chakraborty, for whom I probably don’t have any words. He must engage himself in many more films like these, else it would be the audiences’ loss that they wouldn’t witness how brilliantly he performs. He is one of those very few actors who do not act, just behave.

The aspect of the film which is par excellence is the cinematography. Soumik Haldar and Srijit Mukherji have always been working together, but this is probably the outcome of the highest degree.  You would want to grab a DVD of the film, once released, solely to watch and re-watch the dance sequence, choreographed by Sudarshan Chakraborty. The sequence has been brilliantly shot, under the tree, in the midst of a dark night, with the intelligent use of low lights. Soumik proves that he indeed can be a cinematographer of international stature.

Pranoy Dasgupta sits on the edit table and does a pretty decent job. He executes his work well, but the visionary with which Srijit had imagined the film, individual sequences tend to drag a bit and makes the entire film a little slow. This is something which is contrary to what Srijit’s films had been always.

Last but not the least, Nirbaak will leave an impact on you after the end credits have finished rolling. The major cause of the long lasting impression is Neel Dutt’s background score. The BGM complements each and every moment of the film in a mesmerizing manner. The only song of the film, Jodi Akasher Gaaye, which comes up at the very end of the film, sticks to your mind. Credits go to Bodhaditya Banerjee for the lyrics and the composition of the song, which complements the vocals of Arka Mukherjee.

Special mention, without which this article would be incomplete, must be given to the Shadowgraphy Titles. Srijit has always come up with something new in each and every work of his, but this style of honoring his cast and crew with the usage of shadows moves you completely.

Final Verdict: It is not a film which will appeal to one and all. It will be praised only by a certain limited section of the viewers. You might think you do not like the film at all after walking out the plexes. But when you give it a thought and you rethink more about the film, you learn how entrapped you are in the aura of the script. It is surreal, beyond the understanding level of an average individual. For this, the film can be likable to some, repulsive to some. Srijit’s attempt at surrealism is indeed a brave attempt.

Hrid Majhare (2014)

Written by – Abhikendu Deb Roy.

“Iss dil se bachke rehna, ajeeb aur gareeb khel khelta rehta hai yeh zaalim” – These words resonate in your mind with every passing frame of Hrid Majhare.

The story line remains linear in the beginning but as the film progresses, the complexities develop in many underlying layers. At a night of inclement weather Abhijit (Abir Chatterjee), a Mathematics Professor encounters Debjani (Raima Sen), who is a cardiologist, and predictably enough they soon fall in love. But fate has something else written for them, the doomsday arriving soon.

For the first time director Ranjan Ghosh, Hrid Majhare was the test of his life. To be a visionary and to execute the vision on screen are two very different jobs, which the Whistling Woods pass-out handles quite amazingly.

The casting has been apt and looks appealing on screen. Abir and Raima complement each other beautifully; this being their second film together, post Baishe Srabon.

Abhijit and Debjani’s love flows on the undercurrent of a prophecy, examining their togetherness, questioning their endearments every now and then. The constant conflict between fate and logic which goes on in Abhijit’s mind is portrayed with a certain sense of calmness by director Ranjan Ghosh.

As their love in the film is testified and goes through several ups and downs, the moments of stress are notably plausible.

Indrasish Roy looks highly endearing with his tall dark handsome looks with such a conceivable baritone.

Sohag Sen with hardly five minutes of screen time is the one to look out for. This master of acting, who conducts acting workshops for veteran actors of T-Town, can never go wrong and you so want her to be there for some more time on screen. You cannot simply forget her character, even after the film has ended – such is her impact, such is her charisma.

Barun Chanda is as usual impressive with his voice and powerful acting.

Hrid Majhare is extensively shot both in Kolkata and Andaman.

Correctly addressed as the real hero of the film by the director himself, Sirsha Ray, the Director of Photography gifts us with a visual treat. Collaborating with the art director Nafisa Mondal, Sirsha Ray helps us get a picturesque view of the many indoor scenes in the film.

As for the outdoor scenes which are few in number, Sirsha brings to us a totally different Andaman to what has been generally portrayed in films. The nooks and corners of the busy streets of Port Blair captured in a time lapse, the never ending beaches with the sunlight emanating from the horizon – experimentations have been carried out successfully in this 2 hours 2 minutes feature film.

The editing, by Bodhaditya Banerjee, could have been crisper, which could have helped to portray the distress more effectively.

What works wonders for this film is the background music. The film would not have left such an impact without it. Thanks to Mayookh Bhaumik.

The songs have been used pretty intelligently without being typical song-and-dance sequences in a romantic pot-boiler.

Overall Hrid Majhare is a decent film to watch, especially for the fans of the on-screen couple Raima and Abir.

Film trailer link: https://www.youtube.com/watch?v=SrcoSaBZsl0

Apur Panchali (2014)

My Ratings: 4/5

Apur Panchali is a Bengali film (in Bengali language) fortunate enough to get a release in Mumbai and of course I didn’t miss the opportunity.

Last year I watched a film Shabdo directed by Kaushik Ganguly and since then I try not to miss any of his films. In Apur Panchali the director has once again proved his mettle – his unique concept and innovative execution brings back our belief in Bengali Cinema.

Child actors are famous even before they are old enough to spell the word ‘fame’. But how many of them can retain their fame till adulthood? Do people really care what happens to them?

Kaushik Ganguly showcases this issue as the backdrop of his film Apur Panchali as he reveals the life story of the most celebrated child actor of one time  – Subir Banerjee, who played the part of young Apu in the  film ‘Pather Panchali’ directed by Satyajit Ray.

Now as the story goes, a young film-student Arka (Gaurav Chakrabarty) is responsible to contact the long forgotten child actor Subir Banerjee since a German award committee has decided to invite him to Germany in order to felicitate him as the most famous child actor of all times!

Now isn’t that great news? Young Arka is super excited.

But when he finally meets the middle aged, temperamental Subir Banerjee (played superbly by Ardhendu Banerjee), we (the audience) along with Arka are surprised to see that the once world-famous child actor now doesn’t even want to admit that he had any connection with films or acting whatsoever.

Subir Banerjee is living a lonely, middle-class life far from the stardom of the glamorous film world. He even refuses to accept the felicitation letter and gets irritated whenever the name ‘Apu’ or ‘Pather Panchali’ comes up!

Now that’s unexpected and bad news especially for our friend Arka – who needs to work hard to convince this grumpy, ill-tempered man to make him see some sense.

What is the reason of Subir Banerjee’s aloofness? Did he ever want to become an actor? How different was his real life when compared with the reel life of Apu as shown in Satyajit Ray’s next two sequels of Pather Panchali?

These questions and much more are answered in this sensitive, emotional drama Apur Panchali.

Kaushik Ganguly’s decision to use the original Pather Panchali footage along with the present story-line easily creates a nostalgic mood that works in favor of the director.

But on the other hand the constant usage of such classic footage from a Satyajit Ray-directed film gives the audience an unnecessary chance to compare Apur Panchali with the original masterpiece.  You know it’s unfair but then again you cannot help it.

Parambrata Chatterjee, Parno Mitra and Ritwick Chakraborty – all of them have given matured performances. Kaushik Ganguly as usual makes his presence in a small but sensitive role – a special appearance.

Film Editor Bodhaditya Banerjee have done a great job – very well planned and flawless editing throughout the film.

Indraadip Das Gupta’s music is pleasing to the ears – well balanced and appropriate.   

Overall Apur Panchali is a quality film very well written and presented. I will highly recommend it to anyone with a passion for movies.

Bengalis – a must watch; even if you are not a Bong but love Satyajit Ray films especially Pather Panchali – go for it.

Trailer link: http://www.youtube.com/watch?v=kxKylESYoa0