Athhoi

I had one nagging doubt, going in for 'Atthoi'. One litmus test, if you may. Would the film be effective for an audience that had never read 'Othello'? (Or watched 'Omkara' for that matter?)

For the most part, the answer is in the affirmative, and I can't be happier about it. Arna Mukherjee's directorial debut (adapted from the now-famous theater play) is raw, moody, and entirely cinematic. Overstylized and indulgent, for sure. But entertaining nonetheless. It almost takes you by surprise from the get-go. The Bangla cinema audience is so used to mediocrity at this point, that a project that attempts anything remotely cinematic amazes us instantly.

'Atthoi', with its constant fourth-wall breaking, smart camera work, gorgeous visuals, and amazing musical score, grabs the audience by their throats and pulls them into the world of 'Vinsura'. It's hard to escape the intensity that the movie unleashes from the very beginning, and you can't help but surrender to this understated stage play and its never-ending barrage of tension.

It's an enthralling theatrical experience with Anirban Bhattacharya, pulling off an all-timer of a performance. He is in exemplary form in this movie. Single-handedly transforming 'Atthoi' into a one-man show. A solo play of sorts, where he screams, shouts, cries, and abuses in rampant feats of villainy. He chews the scenery with glee and hams it up, cartoonishly, whenever the occasion calls for it.

It's effective. His motivations are vague. His intentions are disdainful. The connivance makes your skin crawl. The performance does the maximum heavy lifting in elevating the end product. So much so that Arna's portrayal of Atthoi ends up falling short of the mark. Him and Sohini's Diamona (and their undercooked arcs) seem pale, and devoid of chemistry when compared to Anirban and his manic take on Gogo. Almost like a proverbial double-edged sword that cuts both ways.

The dialogue is intriguing. Hit-or-miss, at times. Sometimes crude, sometimes prone to expository soliloquys, considering the scope of the venture. Several sensitive topics are broached as well. Some, like cast identities and colorism, take precedence, staying true to the original source material. While others, like poverty and social oppression, are introduced but not really explored beyond the basic surface level. Mostly in favor of the tantalizing relationship drama.

Or, as Gogo calls it, 'The Game' and its dismal repercussions.

However, the runtime makes its presence felt by the end. There's a shallow attempt at commercialisation that doesn't really work out for the movie. The screenplay drags on by the second half. The engagement falters as the tension slackens. The movie parades slowly towards the 'Tragedy of Atthoi' and you can sense the gloom taking over. The penultimate descend feels slightly repetitive and rushed as well. Thus, the weaker (see : loopy/fantastical) ending stretch makes this one a 4-star watch. Not one star less, not one more.

As such, go out and watch 'Atthoi' for all it's pent-up angst. Watch it for the moody shots of winter vistas and decaying humanity. Watch it for the subtle homoerotic tension seeping through. Watch it in theaters to experience something fresh and visually rewarding in the Bengali language. God knows, the industry needs more of this. God knows, we, the ticket payers, do as well.

More of this. Fingers crossed.

In comparison to Shakespeare's other renowned works, "Othello" has traditionally been my lesser favorite.

This sentiment arises from the adaptations I have experienced thus far, including Bharadwaj's acclaimed "Omkara," which did not resonate with me as deeply as his Haider (Hamlet) or even Maqbool (Macbeth) did.

However, after viewing "Athhoi," a contemporary Bengali retelling infused with modern style and flair, my perspective has shifted.

Anirban's character's frequent breaking of the fourth wall can become somewhat tiresome, and some may contend an argument to which I concede that the persistent oscillation between the drama and dark comedy tonalities may deter certain segment of audiences, I firmly believe that the technical excellence and the substantial depth in character development more than compensate for the script's shortcomings.

Screenplay is brilliant, despite its occasional tendency to prolong scenes, and the performances are truly engaging, showcasing literary and technical fluency at their peaks.

Anirban Bhattacharya's performance in this film is nothing short of exceptional. Every time he appears on screen, it's impossible to look away. His portrayal of these psychopathic narcissist characters has reached a level where it is genuinely unsettling.

Arna Mukhopadhyay, Sohini Sarkar and the rest of the cast also delivers truly brilliant performances.

The direction and choice of screenplay were exceptional. However, what truly stood out was the cinematography. The lighting in each scene is particularly noteworthy. The use of colour, shadows and lighting to create mood and tension is masterful.

The camera work introduces a fresh perspective to Bengali cinema. Anirban breaking the fourth wall is innovative and adds an intriguing layer to the storytelling. This approach, combined with the overall narrative style, offers a unique viewing experience that stands out in the realm of Bengali cinema. It is a bold move that pays off.

Despite the many positive aspects, there are a few criticisms. The most significant issue is the lack of clarity regarding Gogo's motive. This ambiguity leaves a somewhat sour taste. Although there was some hint, a more explicit exploration of his motivations would have added depth to his character and provided a more satisfying conclusion to the story. And at times, the dialogues sound cringe.

But overall, Anirban Bhattacharya's stellar performance, great acting of the supporting cast, excellent direction, and innovative cinematography all makes it a must-watch.

Athhoi is a dustbin. It is full of wastes, both degradable and non degradable. The film is a trip through the wastebin, and how the waste materials try to destroy themselves like sleeper cells when human beings are no where visible.

I'm humble towards their miserable condition so I've given 2 stars, one definitely for the actor Arpan Ghoshal who did a great job out there to create a character which was terribly understated by the director himself. None of the characters are established within this huge time span of some 2hr 30mins... And what the hell were those amature camera handlings? Tbh ig the acting and storyline is engaging, no one gives a damn about cinematography and camera movements and stuff, but this movie is nowhere good. I would praise Paglu 2 instead for being honest to its roots and story, just not produced to state the name of the director beside William Shakespeare.

I really wonder how can someone be so bad with a bulletproof story like Omkara (leave alone Othello). Scene by scene copy, and still go so wrong? This was so bad, it made me write my first review on IMDB.

Below average acting, bad production, arguably the worst possible writing ever. I am writing this here coz I put Omkara as one of the pinnacles of Indian Cinema, and to be this cruel to it needed to be told. I have seen some fair share of Bengali movies, and many had Anirban too, but this is not just his worst, but also the worst Bengali cinema ever.

Even if you have a lifetime subscription of Hoichoi, don't. Just don't.