Durga Puja is the biggest socio-cultural event in the calendar of Bengalis. From food to frolic, the festival brings with it freshness and gaiety aplomb. Whether it is music or literature (pujor gaan and pujabarshiki for fellow Bangalis), Pujo has become synonymous with an annual splash of cultural pot-puree. And in the last couple of years, a string of blockbuster releases have added to the Durga Pujo blitzkrieg.
This year Tollywood celebrated Durga Pujo with five releases: Yeti Obhijaan by Srijit Mukherjee, Projapoti Biskut by Anindya Chatterjee, Byomkesh O Agniban by Anjan Dutt, Cockpit by Kamaleshwar Mukherjee and Chawlochitro Circus by Mainak Bhowmick. Adding to the pleasure of cine-goers, Newton (India’s entry to the Oscars this year) released in the same week.
Apart from Chawlochitro Circus, yours truly has watched all the movies that released during this period. I have already written detailed reviews of Yeti Obhijaan and Projapoti Biskut earlier. Being too lazy to write reviews for the rest, I decided to pen my thoughts about each of these movies in a single post. So, here goes:
Newton: Brevity is an art that is often found missing in India movies. Newton not only delivers its message in less than two hours, but its simplistic and honest commentary on the wonder that is Indian democracy will move you to tears by the time the end credits roll.
Image Source: The Wire
We, the privileged urban middle class, often take our rights for granted. For some of our fellow countrymen, like the tribals residing in Naxal-dominated areas of Dandakaranya, basic survival is nothing short of a struggle. Thus, even the biggest festival of democracy – elections – becomes an orchestrated spectacle here. And then there are upright officers like Newton, who would go to any lengths to ensure the rulebook is followed to the T. Alas, he is just a spoke in the cycle of power, which keeps moving on.
Rajkumar Rao’s understated performance, the subtlety in the writing, quirky yet effective and pointed dialogues and the sublimely used background score help Newton achieve a feat one can only dream of. The film shows the society a mirror and forces us to question the pre-conceived notions we live with, in our urban bubbles. Without being preachy, the film packs a solid punch into mainstream belief system that we are accustomed to.
My Rating: 4/5 stars
Byomkesh O Agniban: Anjan Dutt’s Byomkesh franchise finally comes of age with Byomkesh O Agniban. Based on Saradindu Bandyopadhyay’s Agniban and Uposonghar, the film brings Byomkesh face to face with his arch nemesis Kokonod Gupta.
Set against the backdrop of the turbulent late 60s, the film takes us into a murky underworld of arms dealings and drug cartels. In a deadly matchstick lies the recipe for a global disaster and it is incumbent upon a dhoti-clad Bengali ‘truth-seeker’ to avert this apparent apocalypse.
Image Source: bmscdn.com
The film breaks free from the typical Byomkesh mould that we have so far received from Anjan Dutt. The freshness is apparent in every frame. The background score, while retaining the signature Byomkesh tune, adds to the drama with the somber notes.
Jishu Sengupta brings the suave, intelligent, Bengali sleuth alive with finesse while Saswata Chatterjee’s somewhat subdued charm complements his friend. The exchange of dialogues during the climax, between Byomkesh and Kokonod, is essentially a commentary on the current socio-political landscape.
My Rating: 3.5/5 stars
Cockpit: Perhaps the weakest link among the films that released during Pujo (apart from Chawlochitra Circus, which is worse I am told), this is Tollywood’s answer to Sully; and ruefully so. The film suffers from several inconsistencies that are glaring on your face, juvenile visual effects and a botched-up execution of a novel concept.
Firstly, I was confused whether the film was about how a pilot saved his flight from a near-apparent crash, or was it about the relationship woes of the pilot and the air hostess. The entire first half of the film is devoted to the chemistry of Dibs and Kirti (Dev and Rukmini) and the audience is led to believe they are into each other, except that Dibs friendzones her. It is also baffling why an air-hostess, who is spurned in love, chooses a flight to be flown by the man who dumped her.
Image Source: GDN8.com
And to complete the circle of love, Koel’s character makes a sudden entry at a beach party in Mumbai (where they play Bengali songs from the 90s). In fact, throughout the film, most characters – whether they are doctors in Mumbai or non-Bengali air-hostesses, speak Bangla (sometimes better than the Bengali actors). Koel’s character has acrophobia and so she avoided flying. But there is a full song dedicated to her honeymoon with Dibs in Thailand. Did she take the train?
Then there were the back-stories for some of the passengers. The film suffers from too many sub-plots without any substantive story. Kirti’s character deserved more development. The final half an hour, where Dibs faces the actual crisis while landing, lacked gravity and was overtly melodramatic (like Rukmini’s Neerja moment while saving a child). In fact, when the whole flight was going through turbulence, and from luggage to bottles of fruits juice and milk were falling at will, Kirti’s hat did not even move an inch.
I can go on and on. Surely, Cockpit is not a film that one would expect from the person who made Khawto or Meghe Dhaka Tara.
My Rating: 2/5 stars
Did you watch any of these movies? What were your views after watching them? Do share with me!
DISCLAIMER: All Images Used In This Post Have Their Respective Copyrights
Niyogi Bari Durga Puja is as old as the family, say some. There are documental proofs that the Pujo existed even 250 years ago. Once celebrated with pomp and glamour at Patgram (Mymensingh district in current Bangladesh), the Pujo moved to Kolkata in 1947 and thereafter to Jalpaiguri in 1967.
The Durga protima at home this year
Following true Bangal customs and traditions, the idol breaks away from conventional structure seen at other households. Ganesh here resides with Saraswati instead of Lakshmi. The construction of the idol begins on Janmashtami with Kathamo pujo (instead of Rath Yatra). Unlike others, bhog here is mithai and not khichudi.
Durga Pujo at Niyogi Bari begins on Protipad, the day after Mahalaya, with the Chandir Mangal ghot sthapan. Chandi path continues for the next 10 days. On Panchami, Manasha is worshipped at the mandap, and Durga idol is brought in on Shashthi. Family members decorate the idol with gold ornaments and garlands, following which the priest begins Bodhon.
Another specialty of the pujo here is that on Ashtami night, Kali is also worshipped. Animal sacrifice has stopped and pumpkins are sacrificed instead. On Nabami, a special “ghol” is prepared for offering Maa Durga. It is called Durga Doi. When the pujo was based in Patgram, a tradition of “Aleek nimantran” was followed by the family. Anyone visiting the house during Pujo, was given free food.
Dashami bisharjan is also a gala affair. Earlier, Maa Durga was immersed through the middle of two boats – the tradition had to be stopped due to receding water level in the local river. Following immersion, Prastar Bandhan puja is held at the mandap, where all family members come together for Bijoya and mishtimukh.
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