Tag Archives: 22shey Srabon

Chotushkone (2014)

Written by Abhikendu Deb Roy

Ratings: 4/5.

Cinema and Death – these two issues connect and bind together every reel of Srijit Mukherji’s sixth outing Chotushkone.

Playing with the film tones in Jaatiswar, adding elements of a thriller in 22shey Srabon or introducing a number of sub plots in Hemlock Society – Srijit seems to have culminated all his learnings from his past outings in his recent release and he undoubtedly looks improved.

When the masters of cinema – Aparna Sen, Goutam Ghose, Chiranjit Chakraborty and Parambrata Chatterjee – form the four angles of the mystique thriller, you know that nothing go wrong in the acting department. Parambrata, however, receives a special mention for his outstanding act in the climax.

Apart from these four, an ensemble cast of Paayel Sarkar, Indrasish Roy, Rahul Banerjee among many others play their part sincerely and honestly. But that one cameo that stands out from the rest is of Kaushik Ganguly’s. His acting is undoubtedly going to leave you spellbound during his 3 minutes appearance.

Srijit has taken a few real life elements from the four leads of the film – two of them being Aparna Sen’s “Trina Di” and Parambrata’s “Hawa Bodol Katakuti” reference. The dialogues, penned by Srijit himself, are a reflection of his intelligence (as always) and keep us engaged throughout.

Cinematographer Sudeep Chatterjee, a favourite at the YRF studios who has Dhoom 3 and Chak De India to his name, works wonders for the film. Shot in 5 different tones, the film distinctly allows you to enjoy the visual orgasm.

With indoor sequences predominant in the film, the set design has been looked upon intricately. A self potrait wall-hanging is a common factor present in all the four directors’ residents.

Editor Rabiranjan Moitra could have been better with the scissors as the film, with a 2 hours 21 minutes running time, seems a bit stretched. Also one or two subplots look redundant.

The music composed by Srijit’s favourite, Anupam Roy complements the film pretty well. Lagnajita’s “Bawshonto Eshe Gechhe” fits perfectly in the Paayel-Indrasish shoot sequence. Boba Tunnel is another favourite. The film, like 22shey Srabon, ends with a Rupankar Bagchi number.

Indradip Dasgupta’s background score sinks in as your heart races through every moment of the movie.

They say, “Too many cooks spoil the broth.” Srijit proves it wrong with his fresh new preparation, ready to be served and enjoyed during the Pujas. Go, taste it as it will soothe your tasting buds.

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