pramanik_sayantan2263

It's hard to imagine any remake or adaptation rivaling the seminal courtroom classic "12 Angry Men," yet here I am, witnessing something that manages to build on Sidney Lumet's vision and take it to new heights.

Admittedly, my bias may show since the film is in my native language, but there are certain nuances and a unique expression of emotions that only the language of Tagore can capture, and which Shakespeare's language simply cannot.

The stellar cast of actors were equally enthralling though felt underutilized at times, delivering powerful performances to bring Srijit's vision to life. In the poignant words of Parambrata, "Amar jonyo oke keno shasti dicho" beautifully illustrated the cognitive and confirmation biases inherent within the characters in this movie, highlighting how our past experiences biases us towards our present judgments.

In conclusion, it was a pleasure to witness Bangla film-lore leapfrogging back to its Heydays through the lens of this future 'El-Classico'. A masterpiece on jurisprudence.

The Window (1949) is a gripping film-noir that masterfully captures the essence of suspense and childhood innocence. Directed by Ted Tetzlaff and based on Cornell Woolrich's short story "The Boy Cried Murder," this film stands out as a timeless classic.

Set in the gritty backdrop of New York's Lower East Side, the story revolves around young Tommy Woodry, played by the talented Bobby Driscoll. Tommy, known for his imaginative tales, witnesses a murder through his window. However, his reputation as a storyteller leads everyone, including his parents and the police, to dismiss his claims as mere fabrications.

The film's brilliance lies in its ability to maintain a high level of tension throughout its 73-minute runtime. The cinematography by William Steiner captures the claustrophobic atmosphere of the tenements, while Roy Webb's haunting score amplifies the sense of dread and urgency. The performances are stellar, with Driscoll delivering one of the most convincing child performances of the era, earning him a special juvenile Oscar.

In a nutshell, The Window is a prophetic piece that foreshadows the enduring appeal of psychological thrillers. Its influence can be seen in many modern films that explore similar themes of innocence, perception, and the struggle to be believed.

I recently watched "Shri Swapankumarer Badami Hyenar Kobole," and unfortunately, it fell far short of my expectations. Despite the promising premise, the execution left much to be desired.

Firstly, the storyline lacked coherence and depth. It felt disjointed, with poorly developed characters and confusing plotlines that left me struggling to stay engaged. The pacing was inconsistent, with slow moments that failed to build tension and rushed scenes that left important details overlooked.

For me, the most painful part was the disconnect and incoherence in the storyline, which my "buddhi-jibi"(educated) brain just couldn't take after a certain point....

Really, the worst movie starring Abir, by a longshot. Sorry Abir.