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| 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.
.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
The movie has a great theme or interconnected themes. But it could have been much better/stronger. It's not about hitting the box office, but about hitting people's heart. In other words, it failed to nail. But the idea and the effort are really commendable. I'm quite sure the next time he will make this type of movies with more maturity and clarity.
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