Jaatishwar is a 2014 Indian Bengali musical drama directed by Srijit Mukherji, Srijit Mukherji has been one of the more prevalent scholar executives to have risen in Bengali Cinema in recent time. Individuals following the business might be well mindful that Bengali Cinema has been generally partitioned into 2 extremes-the moderately unique movies normally pointed at the celebrations and the business potboilers which speak to the masses. However in the last 10 odd years there has been a resurgence of the center ground, movie producers overcome enough to endeavor numerous sorts of subjects and intending to contact the more taught urbane gathering of people. The whole time a great deal of these movies wind up being discriminatingly acclaimed and some of them end up being financially effective too. The late Rituparno Ghosh was most likely the most well-known around this class of Bengali movie producers. Producers like Srijit Mukherji and Aniruddha Roy Chowdhary appear to be emulating the same course, however regardless they have far to go before we opening them in any legitimate way.
Economist turned producer Srijit Mukherji made heads turn with his first film, Autographa tribute to Satyajit Ray’s prominent film Nayak emphasizing Uttam Kumar and Sharmila Tagore. Signature saw Srijit bring out a great execution from superstar Prosenjit Chatterjee. The film additionally prepared for a great affiliation between the producer and veteran performing artist. The timing couldn’t have been exceptional as Prosenjit had officially begun the move of moving gradually from business potboilers to more aesthetic movies with creator sponsored parts. Post Autograph, Srijit happened to make 3 more movies, Baishe Srabon, Hemlock Society andmishawr Rawhoshyo and Prosenjit has emphasized in 2 of those (he didn’t offer in Hemlock Society).
Also only 3 months after the arrival of Mishawr Rawhoshyo the element couple of Srijit and Prosenjit have unleashed upon us their most recent film, Jaatishwar. Srijit’s movies have dependably had their offer of spoilers and appreciators indistinguishable. Like if there should be an occurrence of Mishawr Rawhoshyo there were individuals challenging over how the film neglected to be as holding as Sunil Gangopadhyay’s scholarly take a shot at which it is based upon. However notwithstanding this what’s additionally clear is that you may like or aversion Srijit’s work yet you simply can’t overlook it. He has attempted to endeavor movies of different sorts and to catch up a criminologist thriller film (Mishawr Rawhoshyo) with a film saturated with Bengali social history (Jaatishwar), shows his extent. Recognizing that Prosenjit has been doing some decent work recently and with his blend with Srijit having been fruitful I was truly inquisitive about Jaatishwar, particularly in the wake of getting to recognize what the film is about.
So the first look blurb and the trailer headed me to comprehend that Jaatishwar might be halfway dependent upon the life and times of Hensman Anthony, an artist of Portuguese source who existed in Bengal in promptly nineteenth century and who happened to form numerous unique Bengali society and reverential melodies. For somebody who sounds so fascinating its a true amaze that there is barely any data accessible about Hensman Anthony in turns of documentation (this is something that is specified in Jaatishwar also). Whatever individuals recollect of him is basically because of the 1967 film Antony Firingee, administered by Sunil Bannerjee which got Uttam Kumar the National Film Award for Best Actor (additionally for Satyajit Ray’s Chiriakhana). Yet this was a film which concentrated on the almost legendary assume that Hensman Anthony was, and his adoration story. Furthermore most likely in a manner it is great that Srijit Mukherji chose to make a film that might be unique in relation to the prior film and wind up with a considerable measure more regard for points of interest, because of the examination that went in.
Jaatishwar (resurrect) is the story of Hensman Anthony (played with earnestness by Prosenjit)who got prominent as Anthony (Firingee alluding to him being a nonnative) in nineteenth Century Bengal. He happened to settle down in Farashdanga, some piece of the old Portuguese town of Chandernagore (now known as Chandannagar), arranged near Kolkata. Being a performer with an energy for dialects, Anthony happened to take in Bengali as well as to form tunes in the local dialect. Anthony additionally happened to wed a Hindi widow named Soudamini and kept on getting affected by Bengali society and Hindi religion. The impact reflected in his work and he soon got well known in the “kavigan” circuit, a convention of beautiful duels prevalent in that time. Jaatishwar is a film which agreeably confounds between 2 time zones, the nineteenth century as we see Hensman Anthony’s life and times and the present times that we live in. The film continues moving over the two time zones in a planned non-straight mold which works energetic about the film.
In parallel to the story of Hensman Anthony we see a present day setup where Rohit Mehta (Jishu Sengupta), an exploration researcher in Portuguese studies has been having an uneven fascination towards Mahamaya Bandhopadhyay (Swastika Mukherjee) who’s additionally an University learner like him. Mahamaya is a wildly free lady who’s truly sure of herself and is into Bengali music and indeed anything that is Bengali in nature. One day she even winds up testing Rohit to create an unique tune in Bengali and sing it himself for her with a specific end goal to win her consideration. At some point later Mahamaya happens to turn into a prevalent RJ on Radio Mirchi and Rohit is seeking after his further studies as a trade scholar in Portugal.
With a thesis pending from his side and with no point coming into his psyche, Rohit discovers the character called Hensman Anthony in a short portrayal in some book in the library. Resolved to do his exposition on Hensman Anthony and recognizing there’s scarcely any material to study about him, Rohit moves once again to Kolkata. His quest for subtle elements on the antiquated Portuguese writer heads him to Chandannagar where he meets Kushal Hazra, aide curator at the nearby library. Kushal is eager to assist Rohit with his exploration, yet there’s a get here- Kushal accepts that he is Hensman Anthony’s resurrection. What happens to Rohit’s exploration and to Kushal Hazra? Do Rohit and Mahamaya’s lives interconnect at the end of the day? All these and more are what whatever is left of the film is about.
The film does move along at a comfortable pace and may take some time to snare you in. By the by once you are in its an intriguing trip the distance through from subsequently. Srijit Mukherji’s order over the account is seen by and by here yet despite the fact that the film keeps bungling over 2 distinctive time zones and the notwithstanding the two tracks being as diverse as chalk and cheddar, he figures out how to adjust them carefully. Notwithstanding the characters of Hensman Anthony, Kushal Hazra, Rohit and Mahamaya, the film additionally gloats of truly a couple of elegantly composed characters. Mamta Shankar as Swastika’s mother is a joy to watch. Also the way the mother really lets her know girl that its more secure for a young lady to date an alternate young lady nowadays than a fellow is a shining minute in Jaatishwar. Abir Chatterjee as Rohit’s companion Bodhi, Rahul Banerjee as Amitava and Riya Sen as Sudheshna, both companions of Mahamaya get perceived also. Kharaj Mukherjee as Bhola Moyra, the principle adversary of Hensman Anthony in the kavigan arrangement is a magnificent decision. The film additionally gloats of the vicinity of a few musical artists in the cast like Kabir Suman (likewise the writer of the film), Rupam Islam, Anupam Roy and so forth.
Jaatishwar gets the period look greatly right and the credit for that unquestionably needs to go both to the DOP Soumik Haldar and Kaushik Barik, the craft chief. Kabir Suman has made an astonishing showing with the music, be it the period melodies, particularly the Kavigan ones or the contemporary ones, every one of them work with the stream of Jaatishwar. Jishu Sengupta as Rohit Mehta is a great throwing decision and he brings alive the character of a man living with the trust of winning over the young lady he cherishes. Swastika Mukherjee is pretty as well as truly common as the solid willed young lady and appears to be more than somebody for whom a fellow like Rohit might succumb to snare, line and sinker. At the end of the film you might be pretty much constrained to feel that Srijit has more than done equity to the story of Hensman Anthony and provided for it his own particular beguile with the contemporary touch included.
Yet its Prosenjit who’s the fundamental purpose behind the film turning out the way it has. I for one basically can’t imagine any other person doing equity to the parts of Hensman Anthony and Kushal Hazra, he is that persuading in both the depictions. In the kavigan parcels he appears to find a sense of contentment with the World and as Kushal Hazra he brings out the agony adequately of a man, who exists under the consistent dread of losing his personality for eternity. This is an execution that ought to unquestionably be in controversy for all the significant recompenses one year from now. The film isn’t without spot you may on occasion discover the film to be a bit moderate for solace. Additionally there’s very little that you get to think about the starting point of Hensman Anthony and about his life separated from his universe of music. Indeed his sentiment with Soudamini is not delineated in point of interest, however that is carried out deliberately I presume.
Jaatishwar in the end is a film which chips away at most tallies and is a real triumph for the Srijit Mukherji-Prosenjit Chatterjee fusion. Go watch this one; I’m certain you won’t be baffled.
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