It is extremely difficult to make a good Byomkesh film. Directors have tried and failed to portray the Satyanweshi in the perfect form. The best adaptation of Byomkesh Bakshi on screen till date was undoubtedly Uttam Kumar in Chidiyakhana (no, I didn’t like Basu Chatterjee’s series with Rajit Kapoor in lead).
The last two films directed by Anjan Dutt were miserably awful. Byomkesh Phire Elo comes as a breath of fresh air in the adaptation of the super Bengali sleuth. Aabir Chatterjee is flawless in his portrayal of the mannerisms of Byomkesh. Based on the novel Benisanhar, the film does complete justice to Saradindu Bandyopadhyay’s work.
The background score of the film was haunting and helped in the flow of narrative of the thriller. Every actor did full justice to their roles (special mention to the young actor who played Makrand). Kaushik Sen and Ushasie Chakraborty were over-the-top with their performances (and thankfully, did not have a lot of screen presence).
Although the climax was the film was too long, the message given through the film is admirable. With the various sub-plots, the film acts as a mirror to the turbulences in the human psyche, and the society at large.
Watch it if you are a fan of Byomkesh, you wouldn’t be disappointed. This is definitely Anjan Dutt’s best work in the series.
My Rating: 3/5 stars
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As the curtains parted, and the theater was filled with the melancholic rumblings of the Kanchenjunga, the audience transcends back to 1962. Karuna Banerjee walks into the screen, searching amidst the fog, her beau. No we are in 2011. Watching Jani Dyakha Hawbe and not Kanchenjunga. The “Prince Anwar Shah-Nimtala” minibus transports us to 2011 Kolkata.
Birsa Dasgupta’s first film 033 was a big let down. Inspite of a great showcase of cinematographic talent, the film bombed due to weak performances and lack of a good script. Sadly Birsa seems to not have taken any lessons from the past.
No director has ever been able to present Kolkata through lenses as Birsa has done in his two films. The splash of colours fill the canvas of the city with undying memories. From the first outdoor scene at Golpark crossing to the rooftop with Anjan Dutt in Dharmatola, Birsa can give Aniruddha Roy Chowdhury a run for his money. Kolkata gets a life in the music that complements the city’s landscapes. Camera and Sound are the USP of this otherwise dull film.
Jani Dyakha Hawbe is perhaps Payel’s first off beat film. A sensation in the mainstream genre, Payel finds it hard to shed her “heroine” baggage and delivers melodramatically at times; but exhibits extreme restraint in some sequences, thus delivering a tightrope performance. Her character brings back memories of Radhika Apte from Antaheen. A similar buoyant character, but zillions apart in terms of performance. Parambrata had been my teen crush. Making his big screen debut with Topshe, Param has matured as an actor. JDH makes me crave for him. Or his character Megh.
JDH can be termed a waste of talent. Mamata Shankar, Roopa Ganguly are reduced to guest appearances. Even in the scenes they grace the screen, their artistic caliber remains unexplored. To add to the woes, Anjan Dutt plays a character which is totally unwanted. Playing the cupid between estranged lovers, his meddling into the personal lives he met just yesterday seems too pushy!
On one hand when talented actors are denied good roles, we have wastage of screen time on disgustingly effeminate Kanchan Mullick trying to “charm” Param. Could Birsa not have made mockery of gays to make the audience laugh? Was there a dearth of comic relief in the dialogues? And we can even spare Arijit Dutta the criticism. Just delivering dialogues is not acting, he must be reminded. Facial expressions too play a part.
Jani Dyakha Hawbe definitely stands no chance to be remembered among the titans that released previously this year. But its music will live with us forever. In the end, i can ask Birsa only one thing – “Jo vada kiya woh nibhana padega, ek COMPLETE film to banana padega”.
My Rating – 2/5