Memories in March

Before watching Chitrangada, I have always felt that no movie of a human being falling in love with another human being can touch me deeper than Brokeback Mountain. Now after watching Memories in March, I have come to the realisation that all these stories should be read together. There is simply no comparison. Nogorkirton, Arekti Premer Golpo..all these should be watched alongside. It tells a complete story.

I wonder how much of 'Memories in March' was ghost directed by Rituparno Ghosh (who also wrote the screenplay) as it has a very Ghosh feel to it. Not to take anyway from Nag, for if he was behind most of the work, it's superb and perhaps his next films will tell us how much potential he has to stay. 'Memories in March' tells the story of s single mother who arrives to Calcutta to be present attend the wake of her recently deceased son and to collect his belongings. During her visit she is assisted by Shahana and Ornob (two people who were close to her son) who provide her good company. Conservative that she is, when she suddenly learns of a secret about her son, she's shocked and filled with resentment towards Shahana and Ornob. However, her feelings gradually change as she learns more about the relationship her son had with these two people and this is what the core of the film beautifully emphasizes.

At first 'Memories in March' might sound like a depressive movie about grief but the film is much more than that and in the end one doesn't feel depressed but rather a sense of hope and enlightenment.

Subtle, quiet, and tender, yet very lyrical, 'Memories of March' definitely strikes a chord with heartstrings. There's no melodrama or spoonfeeding. Ghosh has written a solid screenplay and to top it off, among the highlights of 'Memories of March' are the three performances by its leads: Rituparno Ghosh who shows potential as an actor, Raima Sen (who looks a little off in the beginning but gradually settles in) and especially Deepti Naval who delivers a transcendent performance that comes across as natural, raw and very human.

As mentioned earlier, this isn't another one of those depressing tearjerker. It's about leaving a piece of yourself behind with your loved ones, like what Sid did and what Aarti does.

A beautiful, sensitive portrayal of the delicateness and depth of emotions that are as a much a part of a homosexual relationship as they can be in a heterosexual relationship, conveyed in the backdrop of grief, loss and reluctant acceptance. The restrained, understated performances by Rituparno Ghosh and Deepti Naval, especially in their joint scenes are mesmerizing. Same for the ones between Deepti Naval and Raima Sen. Although the director is Sanjoy Nag, one can see Rituparno's influence throughout. The music by Debojyoti Mishra - melodious, evocative and sensual, blends seamlessly into the narrative. "Bahu manorathe" is a wonderful composition I could listen to endlessly.

The very inception of the film gives a feeling of it being ghost- directed by Rituparno Ghosh. But, the germs of it being the first film of a director under Rituparno's tutelage can be made out after one has gone through a considerable portion of the film. Excepting these discussions, what we glean from movie is a so-called aberrant sexuality which, it says, is not to be looked down upon by the fortunate heterosexuals of this world. Arati (Deepti Naval) - the mother, finding it hard to come to terms with and to switch her emotions between her son's sudden death and his homosexuality hitherto unknown to her - at first detests Ornub (Rituparno), but subsequently starts cherishing his company taking him to be her dead son's 'special' someone or her another alive son. Another relation, between Sahana (Raima Sen) and Arati, is also a very pleasant one founded on honesty and respect. Arati, during her short stay at her dead son's house, learns about certain grim truths about this world which, heretofore even her grey hair has not shown her. When she leaves, she leaves with a bagful of warm closeness she has unknowingly amassed within these few days from both Ornub and Sahana and leaves behind with them 'a bit of' herself and her dead son. The background melody and the nominal songs accentuate the situations. To draw the conclusion we can say that 'Memories in March' is a good attempt at narration, though with a profusion of Rituparnovian touches.

A mother arrives at the city where her son used to work after he meets with a car accident. The mother finds out that he had a lover. Both the mother and lover share the memories they had of their loved one.

You can count the number of actors in the movie by your fingers, but what the movie presented was huge. Emotions shower over some moments and let you see the other side of the story. What can we accept or cannot?

Loved Rituporno more in this movie. Always used to have a special corner for him. After seeing him acting in such an unconventional role and presenting the unheard in such a graceful manner, my fondness for him only increased more. What a lovely, sharp movie. This will go in the bests of Rituporno.