CINEMATOGRAPHY BAPPA DASGUPTA
DIRECTED BY ARIJIT MUKHERJEE
RECORDING & MIXING, PLAYBACK & BGM BY
Genre : Drama, Social
Length : 27 mins
Country : India
Language : Bengali, Hindi, English
Sweta Tewari, Vineet Goel, Om, Soham Laskar, Shaan Chakraborty, Sandip Sarkar,Rupsha
STORY: TANMOY DE
SCREENPLAY: MAUSHUMI MUKHERJEE
PRODUCTION MANAGER: MUKTI PADA MONDAL
CINEMATOGRAPHER: ARUN SARKAR
EDITING, GRAPHICS & PROMOTION: ANIKET
SONG BY: POULUMI GANGULY
DIRECTION: ARIJIT MUKHERJEE
One tends to be choosy about friends, food, books and films. Thus, less number of film reviews on my blog. If I am not impressed with the movie, I won’t review it. So, you can understand that I liked the movie. Rony 2 is a noble attempt in terms of its story and the sociological angle. While the last instalment dealt with the aspect of loneliness in urban areas like Kolkata, Rony 2 dives further ahead. Om, the little guy essaying the titular role of Rony amazes me once again. The last review was about your calibre and you have done it once again over here. Sweta Tiwari, who essays the role of Rony’s mother is a surprise package. She seems to be very confident with her facial expressions especially when she looks towards the floor and takes her own time to introspect her son’s psyche.
Rony seems to be a very matured individual who wants to donate his materialistic stuff to an orphanage and after visiting the same, he realises the special children over there are hungry for love and attention and there is hardly ant difference between them and Rony. Ah, remember the song by Blue. “One Love is all we need.”
Rony 2 surpasses Rony in terms of technicalities like cinematography, music, background score and direction. Acting and screenplay have always been a strong point in Arijit Mukherjee’s films and they didn’t disappoint. All in all, it is a family movie with a great statement about nuclear families in Metropolitan cities. Above everything, it is an honest attempt to visualise the authentic pen-picture of people who are getting busy with careers and ignoring the warmth of near and dear ones.
Rating – 8/10
A feel-good script
Crisp screenplay and editing
Great acting by Om, Sweta Tiwari and the guy in the orphanage who paints well.
The sweet camaraderie between Title and Rony
The scene where Rony watches a small child having some nice time the grandmother and Rony feels the emptiness in his life
The shift between Hindi, Bengali and English in the screenplay, that is how an educated Urban Families talk, scream, shout among others.
Rony needed more silence in a few scenes, rather than dialogues which could have been avoided.
Disclaimer – This is an official review and I have received the photographs from the director.
Web- series : Made in Heaven (2019)
Streaming Platform : Amazon Prime
Genre : Drama
Written: Reema Kagti, Zoya Akhtar, Alankrita Shrivastava
Story : Vivek Anchalia
Players : Arjun Mathur, Sobhita Dhulipala
Amidst the barbaric machismo of Sacred Games and Mirzapur, Zoya Akhtar gives you brilliant study of relationships, friendships, power, politics and sexuality of postmodern Indian citizens.
Akhtar’s web series Made in Heaven narrates the stories of marriages (read the Great Indian marriages ) in and around Delhi. Made in Heaven revolves around two wedding planners Karan Mehra and Tara Khanna and their baby .i.e. Made in Heaven. Arjun Mathur as Karan Mehra dazzles across the series with his struggle and liberation as a homosexual man. I guess, after Jishu Sengupta as the homosexual (ok bisexual choreographer in Ghosh’s Chitrangada) and Manoj Bajpai in Aligarh, Mathur delivers a hard-hitting portrayal. He is not a person who is going to sit back and tolerate non-sense.
Sobhita Dhulipala (essaying Tara Khanna), who was last seen in Raman Raghav 2 gets enough screen time and tries very hard to justify her character. Well, she shines in a few of the sequences especially towards the end, where she discovers the importance of one’s identity, roots. The final fight with her husband, before she leaves the house forever, well great job. Look out for the platonic relationship (ok friendship ) between Tara and Karan.
The girl from Titli, Shivani Raghuvanshi is a fresh breeze of air. If she gets the right project, she is the star to look out for. Shivani as Jazz eats up her co-star’s screen presence in almost every scene in the series. She is an ambitious soul trapped in the body of a lower-middle-class Punjabi family of Delhi. She commits mistakes, sleeps with a guy without any emotions, makes out under the influence of alcohol, steals stuff, beat the shit out of her stoned brother, looks after her family and speaks her mind. Well, that is the young Indian woman who can take care of her own.
Now, the guy from Brahman Naman as the official photographer, Shashank Arora (as Kabir) doesn’t get much of the dialogues, but he reacts brilliantly in almost every scene. His voice-over towards the end of each episode is a thing to cherish.
Made in Heaven provides a tussle between the tradition, individuality, modernism and westernisation. It tackles several issues like homosexuality, infidelity, caste conflict, dowry, impotency, sexual independence, narcotics, power politics and religious extremism among others.
The narration is brilliant and the moment of reflection between the character’s past and present is a pure delight. The flaws in the characters, the convergence of multiple storylines, the production values, the voice-over towards the end, the background score and crispy editing make this one a highly re-watchable series.
Muaah, thanks for showing the authentic sides of Delhi
Ratings – 9/10
Layered and multiple story lines
Excellent character build-up
Aesthetically executed love scenes
Usage of the Qawali “ Aye re Sakhi more Piya Ghar Aaye “
The loyalty of friendship between Tara and Karan
Vinay Pathak as the peeping and helpless landlord leaves a mark
Kalki Koelchin is repeating herself.
Jim Sarbh, sorry.
Kabir’s origin remains unexplored
Disclaimer – Images from the internet.
Enjoy the trailer
Genre – Sci-fi, fantasy, Only Rajni
Players – Rajnikant ,Akshay Kumar, lots of VFX
Director – Shankar
Language – Tamil, Telegu and Hindi
First thing first, don’t watch the downloaded version from Tamilrockers.com. Hey, please get a ticket for a 3D show at the nearest theater. I watched the show at a city theater with a companion who was late by 20 minutes, silent sobbing. So, the movie is about the tussle between good and evil where the antagonist wins the heart. Akshay Kumar portrays an aged ornithologist who wants to save the birds and something happens, leading to his dangerous transformation into an evil crow, staright from Krishnapuran ( read the Mahabharat, where Kangsha mamu commands a crow to kill chota Krishna). The origin story of the antagonist is really heartwarming and it has been brilliantly narrated on the screen. Akshay Kumar delivers a balanced performance. The script doesn’t offer anything new. watch the movie for the story, no fucking spoilers over here. Rajnikant doesn’t need a script and he proves it. He plays multiple characters in the movie without even trying too hard. Amy Jackson proves to be the best of the lot, which means she was as usual good for nothing, apart from being fair and ok, she looked hot. Achaa, really hot.
Shankar is a visionary director, who keeps you glued to the screen with high octane sequences and that too with a dull script, yes a brilliant script is a hero but dealing with a flat script and making it interesting, well he delivers. The background score was really good and the action sequences in the football stadium deserves a thumb up, well Akki scored a goal. Robot version 3.0, the chota robots .i.e. Microbots were cute little adorable and blatantly mischievous robots, Rajni Sir tickles the funny bone in the audience. Jao paisa lutao aur dekh lo, torrent aur Netflix aur amazon, avoid.
In the first installment, there was an issue and in the second one the issue remained. The robots are always looking for powersources, they need to use ONEPLUS battery, long lasting. Some serious action scenes were going on, I was hooked to it and my companion said, “ the robots need a powerbank”. I am in still awe of that power bank stuff. Shankar, please provide it in the next installment.
A song by Pankaj Udhas, could have been used in the movie…
“ Chitthi aaye hai, aaye hai”
Ok sorry. 😛
Thalaiva in all the avatars
VFX, excellent execution by the team
Akshay Kumar as the Ornithologist, he shines. Excellent make up…
The Microbots, Chota Rajnis..hilarious
Grand vision by the director, Jai Shankar.
The Ecocritical angle provided in the storyline about saving the birds and environment at large
Some brilliant moments.
Bhai, VFX ka karey kya? Story line is dull.
Too much usage of special effects takes a toll.
The story line has been forcibly dragged and it contains heavy hangover of the first part.
Robots ka charge bahot jaldi khatam hota hai
Verdict – 7.5/10
Disclaimer – All the images from internet, mere baap ke nahi hai.
I have always found Maharashtra beautiful in monsoons. Being a student in Pune and Mumbai, I have enjoyed the long treks during the monsoon which mostly centred around the forts of Maharashtra. And once I asked a friend, why there are so many small temples in an around these forts, Pune or any other places in Maharashtra?
The answer was, the only way to shun the evil spirits. I laughed.
And then, Tumbbad happened. It was like reliving the Maharashtra monsoon in the October heat but instead of relishing it, you feel haunted by it. I guess Tumbbad uses the dark clouds and the rain drops as one of the most important characters in the film. The film centres around a sleepy hamlet in colonial Bombay presidency. There is an illicit affair between an old bastard and a village belle leading to the birth of two offsprings. There is a Mhada and most importantly there is an old lady who seems to be cursed for eternity. The movie dives deep into the mythological folklore, adding the eternal aura of tussle divine and evil forces. There is hardly any positive feeling in the movie, Tumbaad rides high on the negative aspects of greed, violence, lust, greed and fear among others.
Even Dragons, the mighty creatures could not resist the lust of Gold…remember Tolkein’s Smaug? The protagonist ( or the antagonist…) is a mere human from erstwhile India, who uses intelligence, physical power, guts and lots of black magic to unearth gold from the womb of mother Goddess. The vicious cycle goes on and on.
Sohum Shah uses his body language and eyes to instil the pangs of greed and lust for gold. He occasionally speaks but he performs throughout, so does the crippled little son of his. There is so much of authenticity in the portrayal of Maharashtrian culture, lingo and social ethos of that period. Bansali can take a clue, giant budget and sets are not always essential to make a period film, it is always about the vision. But, I love Bansali also. The cinematography is stunning, with dark, cold and cursed with haunting solitude Tummbad to the relatively lively Pune, it plays its part well. Tumbbad’s visuals are for the 70mm. Then, there are the colours of blood, there are scorching blaze of fire and eerie sounds of mutilated limbs and crushed bones.
More importantly, VFX usage is really up to the mark and it gels well with the gory narrative structure of the movie. To every action there is an equal and opposite reaction, thus to each and scheme of human, there are ploys of the devil and the climax proves it. There are rising actions in the first thirty minutes, there is a relatively dilute phase and in the latter half, it runs with steady phase and lastly it provides the audience with an orgasmic climax of action and fear.
Ah, Ramgopal Verma’s Bhoot was good, Konkona looked terrifying in Ek Thi Dayan and Anushka was really gory in Pari but Tumbbad nails with production values, acting and most importantly script and cinematography. The beauty of Tumbbad is that , the camera is a character, the production sets are also a character, it adds to the storyline.
Watch it alone, watch it on 70mm, Gaand faatega. Aur mazza bhi ayega.. agar nahi aya toh , Hastar aa jayega.
Haunting Background Score and sound
Great balance between psychological and physical horror
Del Toro’s ambience, but blatantly original
Gothic atmosphere and no cheap copy of western horror flicks
Excellent screenplay and usage of silence in the narration
Awesomely freaky climax
Ratings – 10/10
Disclaimer – Images from the internet
Movie Name – Stree (2018)
Language – Hindi
Genre – Horror Comedy
Director – Amar Kaushik
Players- Rajkummar Rao, Pankaj Tripathi, Aparshakti Khurrana, Abhishek Banerjee
Disclaimer – All the words and experiences are not at all fictitious.
Amidst the laidback forum of laziness, two lazy people decided to experience some adrenalin rush and adventure sports were out of questions. Thus, two tickets were booked for a film show at a cineplex.
The Hindi flick Stree was on our mind. We landed up at this so-called mall, which looked like a production set of Darr @ Mall. Few fed up souls were roaming here and there, one aunty was obnoxiously posing for her husband, two kids were hitting themselves, so on. The two lazy jackasses entered the movie hall, but the pangs of hunger kicked in, so corny sweet corn came to our relief.
The setting was spooky with Dolby digital sounds and a PVR screen. The lead protagonist Rajkummar Rao with the supporting cast of Pankaj Tripathi, Abhishek Banerjee and Aparshakti Khuranna kept the audience hooked, perplexed, amused, fuck falling short of adjectives. That is the power of brilliant acting.
The tone and texture were so perfect that after a few minutes, you feel like walking across the laidback fort town of Rajasthan. The cinematography, the eerie cuts, the subtle lighting and excellent usage of minimalistic vfx lived up to the mark. I loved it to the core. Eh, songs were replaced by instrumental scores, what a relief.
The story, you jackass, this is not a summary of the plot, still a thread for you . There is a town in India experiencing some spooky stuff and with every problem, there comes a solution. Well, you know it right.
The director showed his mettle, the actors entertained, the script is fast-paced with witty moments and dialogues. But the climax, oh yes, it was like the film was going to reach an orgasm, ok multiple orgasms and it couldn’t. Are you able to feel my pain? And the stree beside me, who was watching it with great expectations. Crash landing, boom, it is over.
And Shraddha Kapoor, eh tu ja re, you are acting opposite Rajkummar Rao, Pankaj Tripathi, the best of the time, you are absolutely pathetic. Sorry, to be blunt, tu naach re Basanti aur gaana ga. Mood kharab kiya. I am not an acting coach, neither an actor, but I can see the difference between you and the other actors in almost every scene.
The movie was a paisawasool, it tried something new and did not fail miserably.
But, Go Goa Gone is the ultimate winner in Horror Comedy Genre.
Rao and Tripathi , You people are magician.
Fun fact – The movie got over, but my companion looked spooky and it scared the shit out of me, Jai Hanuman gyan gun sagar ! Ram ! Ram!
Excellent performances by Rajkummar Rao, Pankaj Tripathi, Khurrana and Banerjee.
Top notch cinematography, editing and back ground score
Fast paced screenplay and witty dialogues
Great comic timing and few chilly moments
Vijay Raaz, uff man.
The climax and Shraddha Kapoor
Ratings – 3.5/5
Disclaimer – Images from the internet
Caution– This is my experience. This one contains criticism and cuss words. Proceed with caution. Adult show, thus a matured piece of writing.
Adaptation – Vikram Chandra’s Sacred Games
Writers – Varun Grover, Smita Singh and Vasant Nath
Genre – Crime, Thriller
Directors – Anurag Kashyap & Vikramaditya Motwane
Players – Saif Ali Khan, Radhika Apte, Nawazuddin Siddique among others
Music- Alokananda Dasgupta
Original Network – Netflix
Number of Seasons – One (6th July, 2018)
Number of Episodes – 8
Country – India
A sinister plot to wipe out the city, the eccentric villain with God complex, a protagonist searching for some answers, terrific love affairs, exuberant ecstasy, an elegant eunuch and so on…
Well, that is the basis of DC Comics and other science fiction works. Look deeply, you find the above mentioned recurring patterns in them.
So Sacred Games is not something new or noble. The show is based on the novel by the same name which chronicles the life of a mafia and a police officer in the Maximum City. Well if you go through Hussain S Zaidi’s Dongri to Dubai, you would be able to relate to all the fictitious element in the plotlines of both the novel and the show. Ironically, the author of Sacred Games Vikram Chandra wrote the foreword to Zaidi’s book.
The eight-hour-long series falters mid-way when parallel plots pop up and slow hinder the pace of the show. Well, so many articles about Nawazuddin Siddiqui’s performance, yes he is every bit of God complex wala Gaitonde. He is the actual star of the show and naturally, he has been given the best dialogues and the one-liners. But, don’t you think he is repeating himself? Faizal Khan is Ganesh Gaitonde, Babumoshai Bandookbaaz is Ganesh Gaitonde, Liak (Badlapur ) is Gaitonde, Ramaan (Ramaan Raghav) is Gaitonde and so on…
But he is never boring, he manages to woo and I’ve been mouthing his dialogues among friends. Moreover a mafia, Gaitonde is a philosopher.
Saif Ali Khan as Sartaj Singh provides a stellar performance. He is troubled, he suffers owing to his honesty and he is not at all flawless. Saif provides a performance of a lifetime, he reacts, he blinks, he shows frustration, cries out in pain and gets stupefied in the end. He is the most realistic protagonist in the show. He makes ‘Behenchod’ sexy. Saif comes up with one of the most authentic portrayals of an Indian Police officer.
Radhika Apte’s act could have been much better, I somehow missed the angst of a R&AW officer and she is a staunch feminist over here, leading to the tragic plight in the end.
Neeraj Kabir as the DCP is one hell of a corrupt officer, a bloody bastard. Keep it up.
We have a gullible and honest sidekick of Saif Ali Khan, the constable Katekar aka Jitendra Joshi, such an effortless and brilliant portrayal of loving husband and dutiful cop.
You are here to stay.
How can I forget Bunty bhai ? the staunch Hindu extremist but loyal to the core. Jatin Sarna is the next big thing. The violent women abuser, the foul mouthed gangster.
Well, Kubra Sait as Kuckoo steals the show, the eunuch eats up all the scenes and she is an onscreen magic. She turns the show, hard-hitting portrayal of the third gender. Well, remember Khushwant Singh’s Bhagmati, the ultimate Hijra? Is she the fourth witch of Macbeth?
Shalini Vatsa as Kanta Bai, such a daredevil act. Anushree Deshpande aka Shubadra instigated the manhood and vengeance of Gaitonde, limited screen time and the boldest screen presence, you have got guts.
And then there is one man, who juggles efficiently between fakht Marathi and Bombaiya Hindi. The underdog organiser of Ganesh Mitra Mandali to the top-notch minister in Mantralaya. Girish Kulkarni proves that he is the bloody best as if the role was written for him. I don’t know, why the media is not mentioning his killer performance over here. Girish Bhau..bahot khub. The hero in Deool to the sarcastic cop in Ugly, from the jackass coach in Dangal to the Machiavellian Minister Bipin Bhosale, you are fucking fantastic dude.
There is no complain about direction and execution by Motwane and Kashyap, but they have come up with better stuff. Somehow the screenplay falters between fourth and sixth episodes. The narrative technique is brilliant and it keeps the audience looking for more and more. Varun Grover, keep it up.Loved the gory texture of the series.
But the most striking features of the shows are background music and the credit designing. The Mandala art is impressive and the last episode reveals some brilliant insight about them and Aloka Dasgupta, what a beautiful and haunting composition? You are a pure sweetheart. Just remove the background music, the show will fall flat. Try it.
Verdict– Behenchod faad ke rakh diya..mazza aa gaya.
One of the best, Bose- Dead or Alive is also at par with Sacred Games.But this is pure sensation, you will love it. We want more stuff like this….
Realistic Violence and Nudity.
The third gender, sensitively dealt with.
The screen colour turns red when Gaitonde starts slashing the inmates in jail.
Gripping Background score.
The historical juxtaposition with the major events of Postcolonial India.
Do not miss Rajiv Gandhi’s presence in the show.
The cross-references with mythology, dam attractive..
The real picture of Indian Police Services.
The screenplay could have been crispier in few places.
Pankaj Tripathi, the Guru, aur chahiye tha.
Those who watched the show in English, silent sobbing for them.
Disclaimer – Images from the internet.
The Film Craft
I never review a book or a movie unless and until I’m impressed by the art in totality. So yes, I enjoyed watching Arijit Mukherjee, Yeh Aashiqui. One of the most important aspects of Yeh Aashiqui is the relevance to the modern world. Art cannot be created in isolation to the present society, well some choose to ignore it, they are free to do it. But Mr.Mukherjee has chosen to work on the social aspects like the loneliness of a kid in a metropolitan(Rony), Suicidal tendencies( Life) among others. This time he ventured into the loneliness of an urban house-wife. We are the generation who are glued to the social media and in the process, we chose to ignore our near and dear ones in the vicinity. Social media has killed the distances and somewhere down the lane, it is creating tensed situations between two individuals. The story is predictable and that is where Arijit Mukherjee wins as a director, he knows how to narrate a story which is already predictable to the audience. I will give a thumbs up to the neat execution of the film.
Arijit Mukherjee has been technically well groomed with other aspects of the filmmaking, thus there were brilliant close up shots, the juxtaposition of black & white along with coloured sequences. Cinema is a big canvas and the painting has been neatly painted over here. Thus, full marks to Bappa Dasgupta(Cinematographer) and Tamal Chakraborty( Editor) for your contribution to Yeh Aashiqui.
The little protagonist of Rony is back in this venture and he is very promising over here. You have a long way to go. He knows how to emote without dialogues. Om, keep it up. Saikat Das gives a clean performance as a dutiful husband and doting father. He keeps it real over here. He is careful and rude, he has both the sides. The script did not glorify him, instead, it showed both the negative and positive aspects of man dwindling between office and home. He is the most powerful character of the film.
Pratyusha’s portrayal as the lonely wife looks commendable. She excelled in the close-up shots and dialogue delivery technique has been very confusing. She is lonely , she is very confused and the dialogue delivery has been blended well with the confused state of mind. Confusion has been beautifully dealt by the female lead.
You know what ? Loyalty is the most beautiful thing in the world.
I loved the climax. Thankfully, the film does not preach, instead, it shows what is happening and offers a solution. Yeh Aashiqui is a noble film, go to Arijit Official Youtube Channel and watch it.
If you agree with my views, leave a comment
If not, please get lost..kidding..feel free to criticise.
The Climax has been beautifully handled.
Direction, Editing, Cinematography..loved them
Good usage of background score.
Relevant social subject.
Commendable supporting cast.
The opening song could have been shorter in length.
Ratings – 8/10
This is an official review of the movie and I’ve received the permission to do so.
Yeh Aashiqui – A Quick View
After returning to India, now he is running a YouTube Channel called “Arijit Official”, and made 4+ successful short films in 2017.
UMA; The Cinema of Joy
Director : Srijit Mukherji
Players : Sara Sengupta,Jisshu Sengupta, Anjan Dutt
Language – Bangla/English (India)
Genre – Drama
Art is never perfect and there are no guidelines to judge it and thus, it is so difficult to judge an art. Srijit Mukherji’s latest venture Uma comes with its share of pros and cons as a piece of cinema, but it doesn’t fail to delight the audience and leave a permanent mark in their soul. Kolkata has been referred as City of Joy owing to its setting for the Lapierre’s novel of the same name. Mukherji’s Uma can be aptly titled as the cinema of joy for having the heart at the right place.
The Craft of the Film
The movie’s plot-line deals with a beautiful relationship between father and daughter but more importantly it is about the cultural heritage and the spirit of Kolkata. This is one of the few movies, where the city becomes the character. There couldn’t have been any other city for this beautiful piece of art.
Thank you, for making a film for the city, of the city and by the city. The main protagonists i.e. Sengupta and daughter are endearing as the reel life father- daughter combo, they follow the traditional acting style and leaves no room for complain. Anjan Dutt steals the show and after Ranjana Ami Ar Ashbona, he provides a performance of a life-time. He is eccentric, he is psychic, he is frustrated but he is a true connoisseur of cinema. I’ve missed your acting as the helpless modern man of T.S Eliot. Sir, you are growing old and you are wearing your trousers rolled with grace and enigma. Manoj Mitra in that hospital sequence, delivers a powerful performance and steers the course of the film by channelizing the thought of Mr. Brahmananda aka Anjan Dutt. Ah, Bancharam is old, but he is a pure gold. Rudranil Ghosh, Srabanti Chatterjee, Anirban Bhattacharya excelled in their respective roles. I’ve enjoyed it to the core and the audience at Navina Cinema, Kolkata will abide by my words. Jisshu Sengupta, you are an worldclass actor, I was stupefied by your portrayal as a drug addict in Chitrangada and you have been raising the bar with almost every project. Saara, it is hard to believe that it is your first film, keep going.
I’m no one to judge a film and in once scene Anjan Dutt pokes and taunts the rise of pseudo critics in Facebook, it was so raw and hard-hitting. The screen-play, cinematography, background score and songs were highly enjoyable but the length of the film could have been chopped down, few emotional sequences could have been avoided. The first half after the interval, was bit slow but it builds up the climax at the immersion ground. Srijit Mukherji brings an ensemble cast and also a hullabaloo of special appearances in the end. Chotuskone was cerebral and this one is close to the heart. There was a dialogue in Kukunoor’s Iqbaal ,
Dimaag aur dil jab ek saath kaam karte hai na … toh farak nahi padta hai ki dimaag kaunsa hai aur dil kaunsa hai (Kukunoor, Iqbal)
I could feel it. Chotushkone has been my favourite but Uma is so pure and divine. I watched a bangla movie a in a cinema hall, after three years and this was a joy ride. I have been staying away from Kolkata for almost six years and I miss the greatest festival i.e. Durga Puja almost every year, I will watch this movie every time I miss the Puja. The last scene where Srabanti types in a laptop sums up the spirit of Kolkata and the movie. There are always flaws but as reviewer one should point out the collective greatness of this serenely subtle and immensely joyful cinematic experience, Uma. Watch it on big screen, you will love it, the cinema of Joy.
Ratings- 8.5/10 (personal ratings)
Disclaimer – Images from the internet.
Story: Tanmoy De
Screenplay & Direction: Arijit Mukherjee
Presenter: Teamwork Production
Staring Ayush Mukherjee Payel Majumdar Pom Chatterjee Gopal Ghosh Manisha Tham —
VFX, Promotion & BGM: Aniket
Cinematography: Bappa Dasgupta
Editing: Tamal Chakraborty
Music Direction: Somagni Biswas & ULFAT
Unplugged Vocals: ULFAT Unplugged (Abhijit & Rupali)
The Movie Review
Arijit Mukherjee’s latest directorial venture Life is all about loving your life and winning over negativity on all aspects. He keeps his objective short and sweet just like his first short film Rony which dealt with the alienation of an urban child from his parents. Life comes up with a commendable opening sequence where the director introduces a fast moving city embedded in powerful neon lights and people moving to and fro from here to there across the screen. There are some well captured moments where one of the characters picks up a broken piece of glass which signifies the broken state of the human soul in an urban landscape; thumbs up for using such imagery over here.
I’m thoroughly impressed by the editing of Tamal Chakraborty’s editing throughout the entire course of narration and yes Bappa DasGupta’s cinematography also deserves applause. Mr Mukherjee cleverly used special effects (read VFX) to portray a psychedelic situation where one of the characters converse from a place too far from the city of Kolkata. You need to find out that place by watching this drama of life. There are two characters over here in the film, a lonely depressed working woman in the huge metropolitan and a mysterious character from a place too near yet too far away. It is their endearing and relatable conversations which lights up the laptop screen. The dialogues are realistic and Arijit Mukherjee’s delicate handling of Tanmoy De’s storyline doesn’t lose focus or drifts away from the core.
The film discussed the issue of depression and suicidal tendencies among the urban youth and comes up with an optimistic message in the end .The best part of the movie Life is that it doesn’t preach anything but portrays the grim reality of death. Payel Majumder and Ayush Mukherjee comes up with convincing acts in the film and doesn’t give any major reason to dislike. Though I personally feel, the dialogue deliveries could have been better especially the voice over of the lead character. Nevertheless, the movie is a great attempt to draw our attention to towards suicide and clinical depression and wiping out the vague notion about the utopia of after-life. Thumbs up to the entire team of the Life for coming up with a fine piece of art. Do watch it. Do not miss this short film.
Strong Social Statement.
Smart Editing, Cinematography, VFX.
Tight Screenplay and direction.
Lovely Background score
Good Facial Expressions and Body Language by the Lead Characters.
Commendable & Economical Production Design
Dialogue delivery in few scenes (personal feeling).
The opening credit song didn’t leave a mark.
Ratings – 8.5/10
Check out the short film over here
Director : Few Facts
World of Art & Culture Started haunting him. At the age of Thirteen, he got the first taste of a life where people comes out of his self and adds life to the character depicted in black & white the pages of books.
An actor’s creation starts from where a writer’s creation stops. So it true with young Arijit.
While acting in drama, he started taking a keen interest in the nitty-gritty of technical aspects of drama and developed a strong desire for the directional venture. He thought direction would be his ideal cup of tea.
At the age of seventeen, he took his first venture in the world of direction as Chief Assistant Director.
Along with cultural activities, Arijit Continued with his studies and did a Diploma in Mechanical Engineering.
He also took an assignment in a Bangalore based Company and continued for four years.
Love for silver screen brought him back to Kolkata. People saw Arijit as a full-fledged independent director in his first 26 Episodes Serial “Khali Jahajer Rahasya” based on “Kaka Babu Series” of Sunil Gangopadhyay.
After that, he had never looked back and today Arijit is an established Director of Tollygunge with 4+ Short films, 16+ Telefilms & 8+ Mega Serial in popular Bengali channels at home and at abroad along with numerous Ad films, Documentaries, and Corporate Films to his credit.
Then he stepped abroad, and in Bangladesh, he first started their country’s daily soap called “Aparajita”.
After returning to India, now he is running a YouTube Channel called “Arijit Official“, and made 4+ successful short films in 2017.
Disclaimer – Images from the internet.