Bisorjon

This is one of those movies which you can sit back and visualize with your eyes closed, long after the movie has ended. The gist of the story as presented by others is definitely correct, but fails to uphold the craftsmanship displayed by Joya Ahsan, Kaushik Ganguly, Lama and others. The assertiveness and elegance with which Joya plays Padma will coerce the viewer to delve into multiple depths of psychology and the different shades of human character.

A pertinent question, as to why did Padma consummate with the rescued Indian trafficker can have countless explanations; physical beauty being the least likely. A destitute widow, who had given up her soul to protect the memories and everything related to her short-lived marriage, embraces another self-offering for a person she had given a new life to. No one can overlook the vulnerability and the yearn to live, to love, to being loved and respected in the eyes of the protagonist. Nasser Ali was that silly fellow who took refuge in the heart of poor Padma and rekindled her wishes to live again. His naive ways and dependence on Padma was probably one of the reasons she started feeling in love all over again with her married-self, doing the chores out of love and not burdened by duty.

Lastly, when Padma was being taken away on a van-rickshaw by Ganesh Mondal, she was looking stunningly beautiful as well as sad like the idol of Maa Durga on the day of immersion. With the dhak playing in the background, Padma not only sacrificed herself to Ganesh, but called upon herself, her own immersion in Love.

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.

I never seen this type of film. Language is too good,comedy,romantic movie. Childartist Harshil's acting and dialogues too good. I never seen any child talking like this. All characters too good.really don't miss it guys. Music is too good and heart touching also.. I will go again with my whole family. I love to see again and again this movie. Thank u and love u all Bisorjon team. Best wishes to you all. BEST OF LUCK

This movie gives us a chance to glance into the livelihood of people living along the edge of river Icchamati - dividing India and Bangladesh. Set at the time of Bijaya Dashami, the last day of Durga Puja and the day for immersion of idols ('bisorjon'), immense number of people gather along the bank of the river, just to visualize the immersion of many idols of Gods and Goddesses coming from both India and Bangladesh. But this is an auspicious time for traffickers and evil people.

Here, in this story, a trafficker - trying to save his life, gets into Bangladesh, has troubles and thereafter gets care-taking from a Bangladeshi widow. She hides his identity, faces troubles, undertook sacrifice and finally helps him escape. But, the memories stay, with an additional trademark - their son.

The most noteworthy performance is that of Joya Ahsan - without her, the film wouldn't have been of that level. Kaushik Ganguly, as an antagonist, was fine. Abir Chatterjee was OK, but could have been better. The humanitarian, respectful among people of different religions is well-displayed. The pace of the movie also slows down a bit towards the end.

But still, this movie is one of the 'good' movies that has been released in the 21st century, and a worthy winner of the National Award for Best Bengali Film.

The review of Aparna Gangopadhyay compelled me to write this review. The review emphasized on "look matters" - my question is: is that so, for this specific movie? It depends on a taste: what is fair or what is ugly, it varies person to person. Moreover in a nutshell, all the three main characters are portrayed as thoughtful and self-illuminated, like it used to be in the older movies e.g. Galpa Holeo Satyi (1966), though the context is different. Over and all, these characters do not belong to the so-called intellectual high-class of Bengalee society. The Character of Ganesh Mandal is an excellent piece of creation, who does not fall into any category of hero or ante- hero. And it was acted so marvelous way by the writer, director and actor Kaushik Ganguly, especially he used his face such a way that sometimes it appears to be villainous, the other moment it becomes a very helpless person (for example, when Ganesh laments and breaks down in front of Padma). This is altogether a rare piece of character and a rare piece of acting as well. The acting of lady protagonist Padma was also done so well by Joya Ahsan. The final moments between Padma and Naser Ali were so vastly marked with grandeur. The deep dramatic portion is enacted so well inside such a small space of the room, and it becomes a piece of art at the end. The folk music of this movie is an integral part and contributed much to this movie. The song on Ichhamati river reminds us another similar situation in Komal Gandhar (E-flat, 1961). The work of music director Kalikaprasad is absolutely praiseworthy. Not much enthusiastic about the color or the usage lights in the movie much, maybe it is because of the quality of the film one could watch. However the Naser Ali character, which is well-portrayed by Abir, has a kind of reluctance or diffidence. The success of the movie is that it drives us to many questions like why Padma liked Naser Ali, and did not like Ganesh Mandal? Is the reluctant and respectful Naser Ali was more attractive than Ganesh Mandal, who desires her awfully? This film actually tells us the stories of the people who live in the core part of society where around 25% are under poverty line, and where male parts of the society generally dominate and make all decisions for the other parts. One may take this as a fight of a lady to have her own choice for her partner; of course she fails completely in this structure of society, but she fought her best to be with her beloved however small it is; this fight is very important because it matters for the future.