Mayurakshi : The symphony of matured melancholy!

This movie is of the oxymorons of life. This movie is about the pleasured and treasured burdens of everyday relations. This is a story of going back to your roots, to find a place to anchor your worries. This is “a tale told by an idiot” – of the last of the seven stages of man, and his futile tomorrows envelop and enroach you, so much so, that you can’t help but think about the most basic formulae of life – very simple, very sweet.
An age old father, in his “nerve illness” keeps on forgetting the mundanes of life on a stage. He though, being a history teacher, cannot even remember the death anniversary of his wife. He is a man living in the past, who can quote Jimi Hendrix or Gladstone with ease, but can’t remember what he had for lunch that day. A person who can, by one glance, understand that his son is suffering from a mental drabness, but can’t remember that his son is no longer a kid playing for Bengal in the Ranji Trophy, but a grown up man with a grown up stature of being a boss at a MNC, in Chicago. He gets irritated like a child, his desires are childish, his eighty-four years of earthly existence, have bundled up into a delicate frenzy of immature actions. And you know where the irony lies ? It lies in the relief that he cannot quite ‘re-member’ – otherwise he may have not survived the modern day wasteland.
Then there is the son, who finds time in his ‘busy’ schedule to visit his father at a tough time of this illness. He, himself has two failed marriages and cannot risk a third. He, himself finds himself in a mental illness – “Or Mon Bhalo Nei”. And that he comes to attempt a rescue of bringing back his father to normalcy, is his curing of himself with the realisation that, “tomorrow is yet another day” and he has to continue the race.
Now comes the acting part – who else in this huge industry could have done these two roles with so much control that it seems that they were born to act in this movie. Soumitra Chatterjee, in his all of grandfatherly poise and admiration will make you adore him. This isn’t acting behind a rigid set of cameras – this is just an overflow of emotions, irrespective of whether that is for the reel or the real. The way he shouts for nothing, the way he asks his son in the hospital, “amay niye jabi toh aj, bhulbina toh?” – fills your heart with an aching joy – the joy of seeing the beginning – the ache because this beginning is that of the end. He is no longer someone of tollywood and worldly fame – he is just as your grandfather or father, perhaps, would have been at that age. Simplicity redefined.
Then comes Prosenjit Chatterjee, with his baggage full of cinema experience and plays out a set of full 102 minutes in one single identity of being the son and no-one else. The rigidity of the self, shown throughout and his burdens, proven on his face. He can understand his father perfectly, as there has been a role reversal. He plays the guardian. Very calm, sorrowful, matured and graceful. He, on the other hand, dreads his past – not only because they were futile, but also because they are lost with the approaching winged chariot of time. Hence, he cannot shave off his tired beard, even after applying the cream.
The father, as he lives in the past, cannot even remember that his son has left him again, for the western shores, and the son, as he lives in his fatigues, cannot even get the basic humane warmth – Mayurakshi is what could have been, Mayurakshi is the inconclusiveness that life provides. She might have been the best “ashray” for Aryanil and Sushovan knew that – but life won’t give him the second chance, anyway – and she has to die, in the mind.
Sudipta Chakraborty and Indrani Halder play the necessary chords, with Sudipta playing the more important one of being the mother, the care-taker, the daughter to Sushovan. Beautiful dialogue interplay and a wonderful selection of Tagore’s melancholic music helps to stir the soup of over-flowing feelings. When the street-hawker asks Aryanil, “barite purono kichu ache?” – there is a gusto of rushing, crowded thoughts.
On the whole, the film goes nowhere, it is a tale of few fleeting moments of a parent-son relationship, which has no beginning and no end. But this “nowhere”, maybe is the message that Atanu Ghosh wanted to convey. Yet, this movie hurts you where it matters – it pleads with you, begs with you to give time, some time to respect the relations you are into. This film is an orchestra of symphonic heart-aches. If you haven’t watched this, then you should. The pain and the sorrow are necessary for your heart, maybe, for the bigger realisation to happen.
My rating – 4/5.

Article by :- Anish Banerjee.


10 Best Bollywood Films of 2017 : Which is your favourite?

1. Baahubali 2: The Conclusion :

I will keep this at No1, solely because of the landmark it created for Indian Cinema, which was no less than a fantasy. The worthy sequel to the hype of Baahubali, this one is straight out from fairytale stuff. S.S.Rajamouli takes off with Prabhas and Anushka Shetty as he tells you the story of “Katappa ne Baahubali ko kyun mara?” in the most spectacular way, ever done on Indian screens. Though, some actions very illogical, but you won’t need logic here. Read my full review of it :

2. Jolly LLB : 2
Akshay Kumar is on a golden touch, and he can never go wrong. Thus the sequel to a wonderful Jolly LLB, is well worth a watch. It is funny, satirical, serious and asks pertinent questions about socio-political conditions of the country. Doing both well in the box office (197cr) and in the critique department, LLB2 is all about a serious court room drama built up through fun-filled sequences.

3. Jagga Jasoos :
Personally, I loved this film. Anurag Basu in his typical best. Set in a Bengal locale and casting some brilliant actors (Except Kaif), the movie is a gem. It is a musical – and the best part is, it has a reason for being so. Though, the 2nd half drags and becomes boring, but again – Jagga takes you on a fun adventure. Saswata Chatterjee – a delight. Read my full review of it :

4. A Death in the Gunj :
A not so famous film, lost in between few heavyweights – but pretty well made. Konkona Sen Sharma goes behind the camera and brings out the best cat from her bag. It is a coming of age story, about a shy student Shyamal Chatterjee. The holiday and the family trip that the film starts with turns out into something very messy and suspicious. Read my fellow blogger Srobona’s review on it :

5. Newton :
Rajkummar Rao is the finest product of Bollywood of recent times and he takes up this satire in a motif to put a mirror on society, on conducting a vote in a maoist region. It contains all the farce of the so called largest democracy of India. Pankaj Tripathi is a delight, again. Though it is slow and much of nothingness happens, it creates a stir. Lost in the crowd of Judwaa 2. Read my full review of it :

6. Bareilly Ki Barfi :
Perhaps the sweetest film of the year, and again Rajkummar Rao at the head of it. A very simple plot and a delicately built climax. Though predictable, but enjoyable throughout. Ayushman Khuranna and Kriti Sanon at their best and Pankaj Tripathi again doing wonders. A very Indian locale and brilliant narration by Javed Akhtar. Read my full review of it :

7. Toilet : Ek Prem Katha :
You see Akshay Kumar, you know it is a good film. And in this social fable like movie – Kumar delivers a message more than a movie. Bhumi Pednekar, co-operating very ably and though the message is strong, but the movie is futile and parts and falter in its main motif. A very different type of film, and definitely a brave attempt. This is perhaps more of a government initiative than a entertainment process.

8. Subh Mangal Sabdhan :
A film about erectile dysfunction – yes, you heard it right, and this is an Indian film. 2017, already a brave year for cinema in this nation, this alone defies all odds. The old cliched rom-com given a new stage of scientific setback – again an awareness process. Ayushman’s second of the year, and that too for Bhumi – both are fantastic, combined by a brilliant cast.

9. Ittefaq :
Bollywood sees very less of suspense thrillers – and this is one of them. It includes all. The twist in the end, is one of the best, seen in recent times and for sure it will leave you stunned and very less of you can predict the end. Akshaye Khanna steals the show as the cop. Siddharth Malhotra does not though achieve full potential (except when he breaks down in the prison). Sonakshi Sinha is very under-utilised and seems unsuitable.

10. Raees & Tiger Zinda Hai :
Yes, you will need a bit of commercial stuff, to round it off, and ShahRukh Khan and Salman Khan packs punches in both of them, respectively. They both have seen setbacks in the fates of Jab Harry Met Sejal and Tubelight, but have earned box office collections with the show of muscles. SRK in Raees is fantastic. Salman Khan in Tiger Zinda Hai is in his comfortable pair of shoes. Read my review of Tiger Zinda Hai here :

Let us know your pick. Happy New Year.

Article by :- Anish Banerjee.

Posto : Cinema’s gift to grandparents on Mothers’ Day!

Posto” on the dish, on the screen –  it is the same beautiful taste which the Bengalis are addicted to. This is a movie straight from the dining table of Bengali Households. All its emotions, feelings, sentiments are rooted in one soil – The Bengali family! This is a movie about matters of the heart – your childhood replayed, your family matters discussed, your love for two special persons on Earth, relished. This is  Nandita-Shiboprosad’s return gift to those extraordinary relations of Dadu and Thamma and how they overpower, eventually, every other relation (even that of parents) at the end.

“This is the most regressive case, I have ever seen in my career” – says the lawyer at a point of the movie. Ironically, this movie is all about “being progressive” and its “fake realities” pointed to you one by one. A simple story of grandparents who don’t want to give up their grandchild to his biological parents as they do not believe that they are responsible enough, or will have enough “quality time” to spend with him, out of their “working parents’ schedule”. This takes you for a toss – you switch sides often, but you will never question either side, as who knows, the screen is a mirror maybe. An incredible use of court-room drama with no unnecessary “tarikhs after tarikhs” – there may be no suspense in this court about who wins – Jashoda or Devaki – but there will be a simultaneous pity for modern society, a flooding of emotions for your aged parents or your grandparents, and plentiful of love for the Modern Gopal – who has been left in a choice of either stealing “makhan” (growing up in nature) or playing on a smartphone (in the city or in the UK).

So many actors have graced the industry (including Uttam Kumar) – yet one man, in his eighties, is standing strong there, with his perfect grandfatherly poise and a delicacy of acting touch. Soumitra Chattopadhyaya removes Posto from the realms of a movie to occurrences of everyday realities. You want to hug him, play with him, cuddle him – those who have been blessed by getting a grandpa’s love – will take him to another loving dadu just opposite of the screen. Lily Chakraborty is composed as a grandparent who loves her grandson more than any one else, yet is a mother and knows all about the pains of her sons. Jishu U Sengupta gets back in his grove – though belittled by the presence of Chatterjee, he makes full use of what he gets – the scene where he goes to hit his son for a crime of his own and understands the fault – is acting done brilliantly. Mimi is highly under-utilized and sometimes is barred off screen space even. Yet does, a commendable job. Another veteran, who has remained the pillar of Tollywood – Paran Bandyapadhyaya is as grand as ever.  His awe is magnificent. The little boy as Posto is saved by post shooting techniques, and could have been better in choice – but that flaw can be totally overlooked as he is restless, lovable, cute.
Sohini as the lawyer is over dramatic, and hasn’t been able to leave her stage to the camera. She forgets that this is not theatre. The Music department isn’t great either and the “Home Shanti Home” song is unnecessary and very badly placed.

Nonetheless, this is that once in a year outings with your family, to a place very well known, yet so vivid. The characters are from the next door, yet there is a longing to see them there. This is those once in a year times, when your mother tongue’s sentiments are in full flow. This is those once in a year times, when being a Bengali, really matters. This is the once in a year times, when the best director duo gifts Bengal with a special dish.

Go, enjoy being a Bengali, enjoy what your grandparents have done for you, love your parents more – have this specially made item in a restaurant, I mean cinema, near you. The taste will last long, you will come out fully serving your appetite.
My Rating : 4/5.

Article by : Anish Banerjee.