| | | | | | | | | |

Bilu Rakkhosh

Review of Bilu Rakkhosh

Watched the movie Bilu Rakkhash in Netflix today. This review is my personal observation, regardless of others’ views.

The movie depicts the potential of a good director though with numerous loopholes. Its welcome at a time when vultures of culture are muscling in Bengali movie scenario. It does lay the foundation of an attempt to reverse the direction.

The pivot of a good movie is its storyline and editing, both of which contribute to magnetism in pulling the crowd. Of course, other factors embellish it to its perfection. The art of story-telling has undergone a radical metamorphosis in last 30 years and in 21st Century mobile age, with numerous distractions, pace with multiple incidents is the key factor to keep the audience magnetically engrossed.

The striking aspect in the movie is the excellent cinematography with adequate lighting. The framing as well as the panning of the camera is definitely noteworthy. Adequate lighting of night sequences gives the effect desired for the sequence. Be it at night or daylight, the cinematographer is comfortable with his tool.

The story is scattered in an irregular array. The flashbacks with the present situation lack the rhythm. It now and then confuses the viewer denoting the lack of compactness of the script. Any one sequence more than 90 seconds slows the pace of the movie. This movie is un-necessarily long and could have been cut short by crisp editing.

Whenever a character is presented in a story, it serves a purpose, either to link the main storyline or accentuate the primary characters. Here, several characters don’t contribute to either and could very well have been dropped. The main characters play their expected role, though the rationality of the accessory ones can be questioned. In my opinion, the script loosened when the storyline became shaky without a definitive conclusion.

The art direction was be-fitting the story depicted. Songs by Manomoy Bhattacharjee and Jayati Chakraborty are definitely praiseworthy and appropriately used. Koneenica Banerjee’s role, though short, is definitely praiseworthy because of her natural acting and expressions in close-ups depicting her maturity as an actress.

The greatest drawback of the movie was the sound editing. Since I was watching the movie in 7.1 surround sound every technical mistake was blatant. There was serious lack of modulating the tracks, when a continuous dialogue is audible at varying decibels, sequentially from different speakers, not heeding the shot portrayed. Sound must balance the distance of the subject from the camera. Sometimes all dialogues came from one speaker, while the other had scratches of an empty audio track. Often the background music/sound ran parallel to the dialogues making it inaudible. In short, sound-mixing has been the biggest drawback of the movie. The music director Joy Sarkar often used the guitar to give the effect of a sequence when the situation demanded some other sort of music.

In spite of fallacies, it shows the potentials of a good director in the making. We all learn through our mistakes in our sojourn towards perfection. Without taking the criticism adversely, if the director Indrasish Acharya concentrates on the loopholes, he has all the potentials of a young breed of good director in the making. I must congratulate him from coming out of the shackles of a cliché storyline and attempting to venture on a new pathway. These attempts would hopefully break the degeneration of Bengali cinema and carve the pathway to a new era, where Bengali cinema would soar like a phoenix from the ashes of the present.