Bishorjon – shines with spectacular Jaya

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Kaushik Ganguly‘s Bishorjon stands tall on the extremely strong and able shoulders of Jaya Ehsan… She is so good in every frame and is so effectively cast, that the film would have lost all its sheen had it been anyone else in that role! She gets a very able support from Ganguly the actor all throughout, significantly more than what she gets from Ganguly the director surprisingly! And then there is Abir Chatterjee who tries hard, but pales out compared to the other two…

His dialog delivery stands out as a sore point, more so in this film’s setup where the ‘bangaal’ dialect and its delivery from both Jaya and Kaushik is top class and completely free flowing! Abir is much better in the scenes where he isn’t given to talk so much, and hence works well in that melancholic and all important end sequence between the leads! Jaya on the other hand excels in every scene she gets, and her Durga Protima essence reflects in every frame, from the way she looks to how she protects a stranger, and then pines for him when he is with her or far lost.. Her Padma upholds the true spirit of bishorjon and embodies it through a very fine performance.. And Kaushik Ganguly is such a natural that he never feels out of character even when he forces himself on to a helpless woman in all ways he can without getting physical, and yet manages to add that element of humor to all his unwelcome intents..

Ganguly however isn’t in his best flawless form as far as direction is concerned.. He has been a stronger director in a few other movies without any false note.. Here the script loses its grip in a few places and has a pace that tries too hard at times that does not help the screenplay either! Other than the three leads, most of the other characters range from cardboard to caricature and make little impact… The character played by Lama is especially loud and irritating.. The editing could have been smarter, but what disappoints somewhat is that the film has released with quite a few cuts with scenes missing even from the trailer.. The trailer hints that a crucial scene has been edited out, that possibly would have given another dimension to the end sequence… But that has been kept understated purposefully!

Technically, the film has some fine background score by Indradeep Dasgupta, late Kalikaprasad Bhattacharya’s ‘Bandhu tor laiga re’ is beautifully used, camerawork leaves a mark especially in the night shots of Ichhamati, the opening mud frame of the leads together,as well as in capturing the vivid images of ‘bishorjon’, though I would have liked to see the backdrop of the river used much more effectively like it was by Aparna Sen in The Japanese Wife!

The lasting images of the film will certainly be around the final night sequence when multiple other gray shades of the leads are revealed leaving behind quite a bit to interpretation… The tonal pitch of the sequence may feel louder than the rest of the movie, but does not feel out of place or over-dramatized.. It is required to portray the outburst of pain and desires against time that is running out, emotions that otherwise remain understated throughout the film… Unfulfilled desires, the agony of solitude and the sorrow of losing someone leaves very little room to judge what is right or wrong… and Jaya Eshan delivers a knockout punch in that overall scene capturing all the frailty of human emotions and deep pathos, raising Padma above all moral judgment… Abir supports her ably there and should be commended.. However, would Jishu have fitted Abir’s role better? This crossed my mind several times throughout the film..

If indeed national awards were to be given to foreign nationals based on merit, it would have made so much more sense to give it to this fine actress from Bangladesh rather than a certain Canadian! Her overpowering brilliance as Padma will be remembered for a very long time…

And here is the Bijoya review – next part of the sequel

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