Blog Archives

Movie Review – Uma by Srijit Mukherjee

 

It is no secret now that Uma is based on the real life story of Evan Leversage, a terminally ill Canadian boy whose wish to see another Christmas prompted his townspeople to bring the festivities forward by months. In the film, Uma is a terminally-ill Bengali girl, who lives with her father in Switzerland. Having heard tales of the grandeur of Durga Pujo in Kolkata, she has been yearning to visit the city of her roots to immerse herself in the autumnal festive fervour.

Having ignored this wish for years, Uma’s father finally gives in to her wish when he learns she only has two more months to survive. But Durga Pujo is a festival held in October. And Uma may not survive beyond May or June. So, her father moves mountains so that her dying wish can be fulfilled. Uma is the story of this journey, where a father, determined to gift his daughter all the happiness in the world, battles all odds to create ‘Durga Pujo’ in April.

Rituparno Ghosh had adapted a western novel into a Bengali setting so well in ‘Shubho Mahurat’ that I had decided it was the ultimate benchmark of internalisation of a concept into our culture. Srijit Mukherjee not only matches that standard, but outdoes his ‘Sir’ with élan. Imagining Christmas as Durga Pujo is just the tip of the iceberg. The beauty of his intricate detailing lies in the names of the characters. Uma’s parents are named Himadri and Menoka. The director who takes charge of creating the grand Pujo illusion is named Brahmananda. His art director is Bishwakarma, the person responsible for crowds is Lokeshwari and the light management is the forte of Arka Ray.

Then there is Himadri’s friend Barun, who creates artificial rain in one scene. His wife is aptly named Neera. There is a ‘guest’ actor who plays an errant officer of CESC, responsible for electricity. No prizes for guessing, his name is Indro. Then there is Gajanan, who’s penned an entire ‘Mahabharat’ for the script and Gobindo, who takes care of all arrangements. The icing on the cake – the anti-hero, Hindu fundamentalist who tries to foil the preparations is named Mahitosh Sur. Only a brilliant mind could fit in the entire Hindu mythology associated with Durga Pujo, into the 2018 setting.

Srijit Da’s detailing is even more enunciated in the introductory scene of Brahmananda. On the walls of his home hang posters of films he directed – Nirbashito (signifying the exile he is in), Meghe Dhaka Tara (the unrequited talent) and Autograph (which was a film about an eclipsed film star trying to make a mark). In fact, this film belongs as much to Brahmananda, as it does to Uma and her father. Anjan Dutt outdoes his performance in Nirbaak and Chitrangada to make us realise what a talent Bengali directors have wasted all these years.

Sara Sengupta mesmerises in her debut performance. She has the quirky persona of her mother and the gravitas of her father. A new star is born. Her chemistry with her (on and off-screen) father Jisshu, makes you yearn to go give your parents a big hug, and say ‘thank you’.

Uma has an ensemble cast that packs a powerful performance throughout. Rudrnail Ghosh, Ambarish Bhattacharya, Abhijit Guha, Neel Mukherjee are all clogs of the giant wheel – the ten hands of Maa Durga, who make anything happen, just for the smile on Uma’s face. And despite the personal dislike for Babul Supriyo, the politician, I have no qualms admitting that he shines as the Bihari goonda, who has a change of heart ultimately (specially so, because his only record of acting is in a terrible remake of Uttam Kumar’s last film).

Anirban Bhattacharya deserves credit for his stern, hate-filled, bigoted act that melts in a moment of emotional transformation into a loving father-figure. Just like Mahisasur had surrendered himself to Durga, just before the Goddess slayed the buffalo demon. Srabanti, who plays Mariam, an actor roped in to play mother to Uma, when she returns to Kolkata, is her usual best. Uma’s real mother, played by Sayantika, struck a chord in the few scenes she appeared.

Supporting the cast in equal measure were the songs composed by Anupam Roy and the background score by Neel Dutt. Shoumik Haldar’s photography needs no separate mention. There are scenes in Switzerland, where you automatically shout ‘wow’ or ‘jiyoh’ and want the scene to freeze so you can keep staring at the visuals.

After all that praise, a little note on what I felt I would have done differently. While retaining the character of Indro as the CESC officer, I would have changed his backstory (ektu playing to the gallery hoye gelo na?). Also, the happy ending at Babughat, where Brahmananda meets his estranged wife, was a bit far-fetched. Talking of the grand climax at Babughat, I would have also ended the film right where the camera panned out of the banks, giving us an aerial view of what the city is capable of achieving, if she wishes to. Himadri finding out that Uma knew about her mother, could have come in Nabami itself, making Bijoya sweeter.

Having said that, this was Srijit Da’s film and he envisioned it in a certain way. It is not my business to pass judgments about how he brings up his baby. This is a very personal film and the effort shows in every scene. As I had tweeted earlier, Srijit Da’s dad must be very proud.

What defines a good film? This is a question that has divided the society for long. For some, it is an escape from the motley of practical world. For some, it is a medium of mass movement. For some, it is just a means of making money.

Why do I watch films? Because they help me survive, one day at a time. And, Srijit Mukherjee’s films have always been that elixir that helped me gain a new perspective of the world. Uma, surely is one of the crowning jewels in Srijit Da’s box office offerings so far.

My Rating: Emotions cannot be rated

P.S. – The end credits with Evan’s photos choked me to tears.

DISCLAIMER: ALL IMAGES USED IN THIS POST HAVE THEIR RESPECTIVE COPYRIGHTS

Advertisements

Movie Review: Dhananjoy by Arindam Sil

15 August, 2004 brought the curtains down on the life Dhananjoy Chatterjee after 14 years of trials and tribulations. The central character to a heinous crime that shook the ‘Bhadralok’ city of Kolkata, Dhananjoy’s name evokes emotionally-charged responses from people even to this day. Accused of raping and murdering an 18-year old Hetal Parekh, Dhananjoy (who served as the security guard of the building where Hetal lived) claimed innocence till the day of his hanging.

 

dhananjoy movie reviewA still from the movie

 

The trial of Dhananjoy Chatterjee left many questions unanswered (he was unprecedentedly awarded death sentence solely based on circumstantial evidence when many key witnesses had made contrary statements in the court). There was a groundswell of clamour for his hanging at the time in Kolkata, led by none-other-than the wife of the then Chief Minister of the State, political pressure from the Gujarati vote-bank and a huge media pressure which led to the final culmination of Dhananjoy’s fate. Was he guilty? Or was he just another scapegoat sacrificed at the altar of our inept judicial system? Arindam Sil’s film explores the unsolved pieces of the puzzle.

The film is a gripping courtroom drama that compels you to challenge the notions you have lived with till now. It makes you question the system and assume a ringside view of life as it unfolds. The film can be separated into two parts: the first half explores the Dhananjoy trials as it happened in a flashback while the second half is a work of fiction where the case is reopened and available evidences re-examined and questioned in a trial. Although the film is judgmental, the director lets you be the judge of what could have transpired on 5 March, 1990.

The first half of ‘Dhananjoy’ has shades of inspiration from ‘Talvar’. It also has a ‘Roshomon’ style narration of the fateful incident. However, Arindam Sil shines in his story-telling with the daft writing and striking background score. Although the film indulges in melodrama at times, it is balanced by performances that will keep you to the edge of your seats.

A courtroom drama is expected to be dialogue-heavy, which can often get tedious for the audience to digest. In ‘Dhananjoy’ the scenes are interspersed with witty one-liners that keep the film from slipping into monotony. Kanchan Mullick and Mir (Kaushik Sen and Deepanjan Ghosh post intermission) play their parts well as the lawyers in the case. In fact, the legalities in this film were more believable and ‘real’ than most films are. Kabya Sinha, played by Mimi, is emotional yet focused. Mimi does full justice to her part.

Anirban Bhattacharya and Sudipta Chakraborty steal the show with their nuanced yet emotive performances. The stoic villainy portrayed by Sudipta is enough to send a shiver down your spine. Anirban Bhattacharya’s eyes do the talking for him. His slow walk to the gallows with Manna Dey’s ‘Mahasindhur Opar Hote’ will haunt your memories for days to come. These are performances that will define the year 2017 for Bengali cinema.

However, Kabya’s motivation to work in this case, that too four years after a man has been hanged, is a bit too much to handle. A more convincing back story could have added to the film. Why require a full-fledged trial to re-examine the evidence? With the research she had, she could have written a book instead. Also, was the public prosecutor in the second half only there for providing comic relief through objections? He hardly made a case. Moreover, the opening disclaimer says the film is purely a work of fiction, while the name as well as the promos belie the claim.

All controversies aside, there is an inherent honesty in the making of the film which sets ‘Dhananjoy’ apart. One must watch it with an open mind and separate the facts from the fiction while walking out of the theatres.

My rating: 3/5 stars

DISCLAIMER: All Images Used In This Post Have Their Respective Copyrights

%d bloggers like this: