Blog Archives

Aparajita Tumi: Music Meets Soul

Music Meets Soul

Courtesy Topkolkata dot com

Music in today’s films has a very short half life. It hits the target (audience) with high impact; buoyed by the momentum lasts over a considerable time period and then slowly decays into oblivious alleys of public memory(only to be dug out on occasions).

Exceptions prove the rule, they say. And in the case of music too, there are exceptions – many for that matter. Of late, music in Bengali cinema has seen a sea change. Amidst the noise, music has emerged and how! After all, the lotus blooms in the mud.

In Aniruddha Roy Chowdhury’s films, music has always been an important component. Like salt is to food, music is to his cinema. The journey that began with Anuranan, peaked with Antaheen. While Aparajita Tumi cannot boast of being better or at par with Antaheen, Shantanu Moitra surely carves his niche with this album.

An unconventional mix of genres, a package that soothes the soul. no matter what mood you are in, the OST of Aparajita Tumi stops short of giving away the narrative of the film through the music. Srijato and Chandrabindoo reassert their poetic prowess – the words hit you hard and there is no way you  can steer clear of the magical state of bliss they transport you to.

The best song in the album is definitely Take Me Home for its lyrics and Shadow Tales for the haunting melody. Aparajita Tumi is a complete nutrition for soul – from the vibrancy of Take Me Home to the brooding Shadow Tales, the romantic lullaby Roopkothara or the innocently apologetic Bola Baron – Shantanu Moitra bares his emotions through his guitar.

Aparajita Tumi is a collector’s delight, yes even in this age of piracy you would want to buy a CD.

My Rating for the album – 3.5/5

P.S. The brilliant score only adds to the excitement for the movie slated to release later this month. Eagerly waiting for Tony Da to unveil San Francisco in a new avatar.

Jo vada kiya woh…..

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.

Courtesy Oldfilmsgoingthreadbare dot com

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.

Courtesy Tinypic dot com

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.

Courtesy - Music Jagat dot com

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

%d bloggers like this: