There are some films which one is biased to.... to which one surrenders completely, to let oneself be charmed, in which one invests emotion...
What had I been doing online when I had not been blogging? You ask. The answer is.... most of the time I would be on Facebook. In fact, in ...
Every time a new director arrives on the scene, there is always a lot of excitement among the cine-viewing public, especially among the ent...
People have been asking me why I'm continuing my silence for so long here on the blog space. Well, the answer is a bit too complex to ex...
This is a list of 100 of my favorite Bangla films that I have had the opportunity of seeing over the years. I would like to recommend vie...
Vivek Trivedi is one of the new kids on the Bangla mainstream cinema scene, and one thing is certain - he is here to stay! Here is a heart-...
From motion to emotion... the whole lot actually; constipation is not just a condition, it's a motif and a metaphor in the film 'Pik...
Love rocks! Love sucks! Love hurts! Love kills! Love debases! Love eludes! Love expires! Love transpires! Love transcends! Yes, al...
Dogs in films aren't new. And dogs in animation films aren't new either. The Disney brand-name itself has had many successful ass...
There has been a universal interest in the American Presidential election this year, and after the victory of Mr Barack Obama, the internat...
Friday, March 16, 2012
Bhooter Bhobishyot: Plight of the Living Dead
Anik Dutta's debut Bangla feature film 'Bhooter Bhobishyot' is a delightful watch.
It is a tongue-in-cheek film about endangered ghosts of an ancient mansion.
Here, the ghosts of the age-old Choudhury Palace face the plight of getting ousted, as it is being eyed for a mall-cum-multiplex, thanks to the contemporary consumerist craze.
The crumbling mansion hosts unique specimens of the living dead, hailing from different era and from different socio-cultural backgrounds, making the colourful past come alive.
They have nowhere else to go, and apparently enjoy their stay at the derelict mansion.
Their abode lures film crew who find shooting amidst the decaying opulence lucrative.
It is an irritant for the ghostly souls - averse to the purported invasion of privacy.
They ensure that the place gets a haunted house tag and remains secluded in obscurity.
They also need to ward off the scheming villains eager to raze the building to the grounds.
The ensemble cast is joy to watch. It includes (the list is really long) Parambrata Chatterjee, Sabyasachi Chakraborty, Anindita Bose, Bibhu Bhattacharya, Swastika Mukherjee, George Baker, Paran Bandyopadhyay, Samadarshi Dutta, Sumit Samaddar, Biswajit Chakraborty, Mumtaz Sorcar, Monami Ghosh, Kharaj Mukherjee, Saswata Chatterjee, Debdoot Ghosh, Srilekha Mitra and Mir. Some of the big names just have cameo appearances, yet each has contributed fairly to make their presence felt.
The teamwork of Indranil Ghosh (art direction), Abhik Mukherjee (cinematography), and ArghyaKamal Mitra (editing) has contributed immensely in creating the ambience and ethos integral to the narrative. The music (by Raja Narayan Deb) is apt and some of the situational songs are a breather (the best songs are however the zany ones featured on Samadarshi, playing Pablo-the-rocker). The spoofy takes on the constitutional inconsistencies of Bangali life, as well as the period-specific milestones that are casually referred to, have enriched the screenplay. The film could have been a crass comedy in lesser hands (although some of the innuendos could have been easily avoided) and a less nuanced tone could have marred the desired effect. I wish the film all the best, and I am keeping my fingers crossed that Bangali viewers (who do not necessarily equate a comedy with a laughathon) will love this breezy celluloid treat.