Padma Haldar (Jaya Ahsan), a Bangladeshi Hindu widow discovers an unconscious man face down in the river mud gripping an Indian flag in his first. She rescues him and brings him home. Once he regains his consciousness, he introduces himself as Nasir Ali (Abir Chatterjee), a Bengali Muslim cross-border smuggler, after his initial facade of crashing into the river during the immersion of Maa Durga fails to stand its ground. Padma, who lives with her aged and ailing father in law, decides to tend to his treatment and cooks up a story about his being her elder cousin who is a saree trader. Her intention is that once he recovers, he can head home safely. But it's easier said than done - Padma is unfortunately the subject of intense romantic interest of a local village bigwig Ganesh, an ageing, scheming and physically unattractive gentleman (Kaushik Ganguly) who yearns to marry Padma and bears her expenses as a bait too. The price Padma will have to pay to protect Nasir Ali from Ganesh, his spies, the border guards and for seeing him safely across the border is the mainstay of Bisorjon. It is a doomed romantic relationship developing through Nasir's recuperation and Padma may need to sacrifice her soul.
Bisorjon is a gem. It's perhaps a tad slow for its content, but the few days of Nasir's limping back to health needed to be told poignantly to allow Padma's simmering passion to unfold. Jaya Ahsan belts out a fire starter performance, it's like a woman possessed by the character. She is at the pinnacle of histrionics in Bisorjon, a performance that I shall remember for long. Kaushik Ganguly is brilliant too - his clever overtures masked under the garb of kindness is a masterpiece. In comparison, Abir appears to be a novice caught between two professionals and leaves much to be desired. Bisorjon is a simple tale of human bonds, the choices one must make at the crossroads of life and their consequences - watch it for its simplicity and some exceptional acting.
