saumyadeep-kittu

What mystery it is that leads us to think? Conscious or unconscious, the days of future and past are always into us. So simple a fact that we hardly express the same what we feel. Too mainstream, isn't it? Well, in that case the realistic solution for you is Late Anjan Das's Ajana Batas- The Mystic Wind, which of course is a poet's venture into the parallel waters. It is like a soliloquy witnessed and heard only by the green earth. Deepa (Paoli Dam) works as a copywriter in Kolkata. She is in a relationship with Sandy (Vikram Chatterjee) and she often visits her family in Ranaghat, mostly to communicate with her uncle played by Shankar Chakraborty. Her interaction with the world gets restricted almost in the form of catalepsy owing to a wind so unfathomable in itself. However, she tends to think what she actually felt to communicate. The thought does not take the shape of words due to the distraction into the trance. This affects her relationship and also her willingness to save her uncle from the sight of a mental deficiency as viewed upon by the other members of her family. And, the consequences. Well known writer Subhobroto Sanyal (Koushik Sen) creeps into the world of Deepa. Only a spoilsport would provide further details to the plot. The Vignesh Films initiative is a love making of your real with your virtual. Anjan Das actually dealt with a concept not so familiar in the Bengali cinema, an analysis of the psychological desires and their subsequent fate caused by the grey matter. A true justice to the works of Joy Goswami in unveiling the insight followed by a proper synthesis of the bits of an intellect. The self proclaimed poetry on celluloid is indeed a verse so strong, the instinct of which is a creative genius by the late director. The film is indeed an acting paradise with the best of its lead cast. Paoli is eminent with her simple but different Deepa. Vikram is consistent and in good harmony with his Sandy. Koushik Sen's Subhobroto Sanyal is as creative as an artist and as balanced as a mortal. Shankar Chakraborty is like the bough of a grand old tree, the shadow of which is like a stroke of a master. His mejo kaka is like those fairy tale uncles, unstable from an apparent view and different from the depth. The screenplay being on a high note is well structured by the cinematography of the film which turns out to be an audience friendly conveyance. Ajana Batas is a technically sound film when it comes to editing and sound mixing. The film goes on with a strong, slow narrative combined with a mesmerizing dissemination of both the concrete and abstract of poetry. Ajana Batas is a conjunction and also the lack of it, the syntax of which depends on the gatekeeping of minds. From a montage of Radha- Krishna till the reminiscences of the 'Ringa ringa roses' days, the film is a cinegoer's delight.

What? This is a question that can lead you to any extent. Cold is the red in the form of hemoglobin, may it be on the axe's part, may it be on the tree's. Conventional yet unconventional is a game of numbers that leads to the story of searching the death. Whatever it is, Manoj Michigan's 89 is a thrill of which crime can well be your supper of a no-lunch day, kudos Saswata Chatterjee. It is that kind of a film where you would enjoy the magnificence of Chatterjee's acting and in process you would also want him to better his own self, of course by the portrayal of the negative. Raima Sen steps into a psychiatrist as her Dr.Purba Bannerjee persists on with her regular duties. However, there is something that haunts her with two unknown eyes from the flashbacks of her memory. Following a bomb blast, of which Dr.Purba is an eye witness, enters police inspector Anup Bhargava played by Shataf Figar. The investigation continues alongside a nascent love story succeeded by a hypnotic treatment of Dr.Purba. The past gets revealed that lets Dr.Purba to be aware of the killer of her previous life. Begins the search for Sabyasachi Pal. Enters Saswata Chatterjee, a serial killer imprisoned at a heavy duty cell in North Bengal. And then, the confrontation of Dr.Purba with Sabyasachi in the name of an interview. The rest gets unfolded at the theatres. The film goes into flashbacks as it extensively deals with the concept of reincarnation. The post-treatment attitude of Dr.Purba is not too revealing of a revenge, again maintaining the theme of cold- bloodedness. The audience shall not expect the suspense revolving around the number 89 to act as their brain nutrients. That is what forms the circumference. However, the story will lead them to the core of a numerological mystery. Certainly there could have been a better use of drama while the climax demanded a bit more of it, something that could have actually been brought down from the bomb blast investigations. You can hardly be a detective if you are watching 89, no playing spoilsport to the climax. Saswata the actor has the complete ability to eclipse others in his presence. One can simply forget everything while watching him perform. Those who have always had the desire for "some more" of the Bob Biswas, should definitely make out from their busy schedules to visualize this businessman-cum-murderer in action. As he recalls the events of his criminal attire, you would definitely have the Bob of Kahaani feeling. However, the portrayal here is different to a considerable extent. Raima is just what the character ordered for. Shataf is a good portrayal with his accent and indeed much promising on his part. Manoj Michigan has dealt with a descent screenplay for his 89. And, when it comes to Saswata, you will always enjoy the dialogues. So simple it is for him to tally the balance sheet of his character with his own being. From a paraglider extreme long shot till the afterthought POVs, the film is technically strong with its cinematography and editing supported by some good background score. One has to take note of the light used in the Saswata-Raima sessions. The film will take you through the alleys of a prospective death, either you enjoy it or you fear it. But, you can't just avoid Sabyasachi Pal. Hence, through the pages of your fairy novella, you can well steal glances at the holocaust, quite obvious of profitable returns to your ticket prices.

What if you were the prisoner of desires? What if your construction was nothing but a quicksand of lies? All you gain is a house of cards. A ghost, so lonely by the defeat of his realism walks down the Punjab territory. Alas, the land gets bisected by a border, so violent! Such is the tale of Tillotama Shome's Kanwar being morally stabbed behind the curtain of sexuality. Anup Singh's Indian-German film 'Qissa-The Tale of a Lonely Ghost' is a cinematic sensation that goes down deep into your subconscious.

In the hour of Partition, a Sikh resident of the now Pakistan seeks shelter in Punjab, India with his wife and three not so desired for daughters. Thus is what Irrfan Khan's Umber Singh, wishing for a boy out of Mehar's (Tisca Chopra) womb. When the fourth daughter is born, he persists on bringing her up as a son. Kanwar, in disguise of a son prepares herself as a boy. An adolescent love gets injected in the form of Neeli (Rasika Dugal) followed by a marriage. The beginning of a new relationship calls for the end of what was so far a sexual illusion.

Director Anup Singh does true justice in maintaining the patience of being brave as he successfully makes the non-chronological phantasm work in a meter of realism as well as surrealism. The second half of the story takes a sudden realistic turn as it is revealed in the posters of the film. If realism is the false fall, surrealism gives the definite land in the plot.

With the evergreen brilliance of Irrfan Khan, the acting has reached a summit of what one can hardly comment about. The soliloquy presented to the dead sands is like a perpetual cycle of fate that cries in the tone of,"Naa aadmi, naa aurat. Naa jeev, naa pret." Tillotama Shome, famous for her serious portrayals has once again nourished the excellence of her virtue. With an innocent boldness and an intense artistry, her character is like a flame, the delusion of which stays on even after it gets extinguished. Tisca Chopra and Rasika Dugal has also contributed their magnificence in sculpting this master class.

A warm tone cinematography throughout the film along with the immaculate sound mixing has successfully provided for balancing the tension with the 'what happens next' feeling. A well edited synchronization with the proper synthesis of music has given the film a strong circumference.

The audience leaves the theatres with some serious question marks haunting their grey scale. The well cooked delicacy of a sexually exposed Kanwar with the fog of Neeli's existence is the best abstract that gets nailed into your brain. The posters came out with a Mira Nair quote terming the film as a "masterpiece." 'Qissa-The Tale of a Lonely Ghost' is not a onetime watch. Watch, leave and watch again