Jodi Love Dile Na Prane(2014) Bengali Flim Review

Jodi Love Dile Na Prane

Cast: Abir Chatterjee, Ananya Chatterjee, Arjun Chakraborty,
           Kaushik Ganguly, Kaushik Sen, Tridha Chowdhury
Director: Abhijit Guha and Sudeshna Roy.
Music: Raja Narayan Deb
Cinematography: Shubhodip
Editing: Sujoy Dutta Roy
Screenplay: Anindya Bose

Love still continue in this ruthless world. Romantic tales disappear from Bengali composition in Bengali cinema is a previous affair. But Jodi Love Dile Na Prane, the new release from the director’s Avijit Guha and Sudeshna Roy brings back the character of romantic Bengali movies of the 60’s and 70’s. Based on Sukanta Gangopadhay’s novel ‘Abujh Meye’ the film has followed the narrative.

Rana Majumdar, a well known director and his assistant Mainak meet Rahul, a Mumbai based Bengali producer who wants to produce a romantic Flim but of a different kind.  Though extremely confused at the beginning, Mainak tells a story, a real incident seen in his school days, a love story between Sona Chatterjee and Paromita. Sona Chatterjee falls in love with a girl, Paromita, from the same area. Sona Chatterjee is a middle class, vacillating young man, whose father disappear with another woman and was still missing. Sona was jobless and ultimately Paromita got married to Sulalit, a corporate executive and got settled in Delhi. Paromita tired her best to be with her love but she failed. Sona failed to take the unavoidable reliability.

Paromita now is a mother. Aaheli, the daughter of Paromita, is now doing her graduation from Biswa Bharati University in Bolpur. Paromita in search of Sona forces her husband Sulalit to take a transfer and come back to her hometown Kolkata. The film deliberate around separate tracks. It deals concurrently with Rahul’s dream of producing a love story with a difference and the love adventure of Sona and Paromita. The movie with its provocative pace and truly wonderful story telling reaches a point where Rahul’s dreams come true. Sona and Paromita meet again. Aaheli in search of her real father investigate Mainak’s help and they come close.

Anindya Bose’s knowledgeable screenplay and enthralling dialogues, along with the director’s imaginative treatment makes this movie a treat to watch. This movie again substantiate that the partnership of Anindya-Avijit-and Sudeshna can create wonders as we have seen earlier in Teen Yaari Katha. Though the cinematography of this movie excels with the lyrical appropriation of the streets and bylanes of the city it fails in framing and formulate some interesting moods, specifically where Sona meets Paromita in an old house.

The background music of the film is not up to the mark and generally loud. Not much can be said about the songs in the film as there is practically any song in the film. But for an inconsistency, the use of the much known song, ‘Ke Jeno Bajaye Baansi’ gives goosebumps to the audience and characterize a deep sadness within Paromita. The film’s pace is well balanced and the edit justify special acknowledgment.

Coming to acting, I must say, Aabir Chatterjee (Sona) is a manifestation. The ineffective and confused Sona Chatterjee is outstanding characteriged by Aabir Chatterjee and am sure the Bengali audience will remember Sona for long time. Prestige to the director duo for speculation with the look and make up of Sona Chatterjee. Ananya is commonplace and poor in her representation of Paromita. It is high time she changed her acting pattern as she is the same in every character she is characterige nowadays. Arjun (Mainak) and the beautiful Tridha (Aaheli) are also surprise packages to watch out for and as we watch them we realize that two new capability have accomplish in the Tinsel town. Sujoy Mukherjee as Rana Majumdar is as always unbelievable with his scintillating comic generation and delivery. Kaushik Sen as Sulalit is so-so whereas Mithu Chakraborty in a cameo warrant special acknowledgment. And lastly but not the list Kaushik Ganguly (Rahul)… What an actor he is ! Actor Kaushik Ganguly has many things to deliver and I hope the audience will love him more and more as he is characterige and consideration with different characters presently.

Jodi LOVE Dile Na Prane adds a new feather in the cap of new type Bengali cinema. This is a must watch film and I must truly say Jodi LOVE Dile Na Prane is by far the best film of the director’s. It specifically raises our apprehension from the director duo and we wish they give us more such good films in future.

Pendulum(2014) Bengali Flim Review

Pendulum

Director :Soukarya Ghoshal
Music Director: Moinak Nag Chowdhury
Lyrics: Anindya Chatterjee, Chandril Bhattacharya, Soukarya Ghoshal
Story: Soukarya Ghoshal
Cast : Subhasish Mukhopadhyay, Radhika Apte, Samadarshi Dutta, Rajesh Sharma,
           Sreelekha Mitra, Rajatava Dutta, Shantilal Mukhopadhyay
Screenplay: Soukarya Ghoshal
Dialogue: Soukarya Ghoshal
Cinematographer: Harendra Singh
Editor: Mita Chakraborty
Playback Singer: Anindya Chatterjee, Gorki Mukherjee, Lagnajita Chakraborty

Pendulum is based on five different stories against the scenery of connected Kolkata. Each story is apparently linked to the next. It uses the put together device of a neglected building in the city which a promoter (Rajesh Sharma) wishes to take out and regenerate a multi storey in its place. He gives notice to the inhabitant to discharge the property within a period. The opening frame closes on the notice pasted to the door of the building. One resident, an artist (Subhashish Mukherjee), asks him for some more time till he can finish the painting he is currently working on and countenance him into his small rooms scattered with old newspapers and covered paints. The movie closes with the same two characters straightforward the magic called time travel.

.The first thing that hit this censor is that though new comer director Soukarya Ghoshal has requirement credit for the story, this is not exclusively true. The core of time travel through paintings by the insufficient, self-conscious and misanthropic painter has been freely ‘negotiate’ from noted author (late) Sovam Shome’s Biloy Bindu (Vanishing Point). This was made into a moving and something intimidating telefilm by Jagannath Chatterjee for a channel approximately 15 years ago. The other stories in Pendulum are imaginative but are not linked to the time-travel paintings at all. The total idea of time travel is an ‘motivation’ which should have been confirmed in the credits.

Soukarya has spontaneous on the time-travel particular in several ways. One of them is by creating a circular screw somewhere inside the painting which, the artist illustrate, is the door to the journey into the painting and also marks the point from which the viewer can come out. The only two characters within this time-travel are the artist and the promoter. The other stories have only unimportant links to this artist and so far as the characters go, they do not even know that he exists. The promoter steps in now and then but he is not linked to the other stories. So, why five stories at all where the traveling from one to the other really does not make any sense?

The first story with the four smaller ones is about a travelling industrialist (Dr. Koushik Ghosh) who lives with an sick but very alert and knowledgeable old mother. There is a driver (Shantilal Mukherjee) who carries the old woman in his arms to take her here and there. He is in a dependence with the family’s maid. The industrialist is unsatisfied when he discovers that his mother has willed the house forever to the driver, and followed this up with an overdose of sleeping tablet. His world falls independently. The driver and his girlfriend take over and the antecedent opens his dream garage with his dream ‘fairy’, a figure he worship in a shop window across the street. This is the only story that has a definite termination. The others just appear as an end in some transcendental car-crash or other. The characters are not humanity out fully and the other three stories do not carry their altercation till the end. The turning point closes in on a black circular spiral painted on an old newspaper clipping of a train crash so where does the ‘painting’ disappear to?

The original storyline was powerful not only in for its knowledgeable magic reality unconditional through time travel but also because of the two main characters – the artist and the promoter. It has every element of the impenetrable – expectation, manipulation, accident, deprivation, misconception, fantasy, adultery, love, a bit of sex, physically challenged characters, marriage, parenthood, everything. But nothing makes for a cohesive whole. The unsatisfactory storyline is the one which incorporate a physical relationship between a beautiful advertising executive (Radhika Apte) and a young student (Samadarshi.) Most of the characters remain unnamed perhaps to turn them into microcosmic metaphors but it does not work.

It is sad that the director chose to create a debilitated script that vacillate its way across the film like the injured Rajatava, a private tutor, lethargic across the street. Does his daughter make it to the Maths Olympiad ? No one knows. Neither of the two blind characters in the last story believes in carrying the white cane. Why? There are extravagant scenes and characters such as the one where two fledgling try to evade the boring old man or the Peeping Tom character next door whose ‘look’ has been copied from a television commercial or the boy who steps in as Samadarshi’s friend. This slows down the already prolonged narrative. The scenes of Rajatava and his daughter are truly moving.

If there is any last-minute emancipation for Pendulum, this comes across in the outstanding performances by the cast. Everyone, despite the limping script, puts in his and her best including debutante Doelpakhi as the neighbour of the blind musician and his professor wife. The cinematography and the art direction are brilliant. The music is subtle and almost always on the sound track but the film is so weak that one hardly notices its quality.

Songs of this flim here:
 
Odol Bodol (Female Version).mp3
Odol Bodo.mp3
Aro Shunnota.mp3
Uki Diley Jhunki Hoy.mp3
Shohore Ekhono.mp3