ROBIBAAR – Delayering Deceit

Through Robibaar, filmmaker Atanu Ghosh wants to take the audience on a journey of delayering love, heartbreak and deceit that are essential elements of the complex human mind. There are shades of black and white in everyone, everyone is struggling with boxed up memories and hasn’t really been able to go forward much with life where it really matters, and the frustration has led to a sense of opportunism in everyone.

These are all wonderful concepts on paper, but unfortunately don’t translate well on screen because the writing does not match up to the intent. The screen elements go from rather unnecessary to rather convenient to rather abstract in quick transition, and it takes too much time to come to the point. Yes there are a few cinematic as well as nostalgic moments created, but they come in too few and far in between.

There was enough scope here to feel pained by the struggling solitude of the leads, to be sucked in to their complexities, and even when Prosenjit Chatterjee and especially Jaya Ahsan try to make the most of how Ashimabha and Sayani are given to them, the screenplay just doesn’t let them take the film anywhere at all. None of the other characters and their poorly developed side tracks leave any mark. Infact, there are some glaring continuity issues as well. This, in spite of some good work in cinematography and music across the film.

This Robibaar isn’t time well spent – even when one wants to rewind the film and reflect beneath the layers. Ghosh has explored much deeper complexities of human psyche in his earlier films without compromising on storytelling. Sadly enough, this one just feels like a deceit on expectations gradually built up to watch a good film.

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Copyright ©2019 Jayashree Chakravarti. This article cannot be reproduced in its entirety without permission. A link to this URL can be used instead.

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