तीनकाहोन

It's hard to go wrong with the stellar cast that Bauddhayan has brought together for this film. It's a real pleasure watching Ashish Vidarthi, Rituparna, Joy Sengupta, Sabyasachi Chakrobarty and Dhritiman Chatterjee on screen. They do a fantastic job. Still, the best of the three stories presented here is the one with no big actors. In fact, the main character here is an evil little boy. Which the goes to show that a big cast is all very well, but what's important is the story. The last story, Telephone, starring Ashish Vidyarthi and Rituparna, is so far fetched as to be absurd. The second story, though very atmospheric, doesn't go anywhere. But the first story by the great Bibhutibhushan Mukhopadhyay is marvelous. It has a great climax and I loved the setting of the three friends eating "beguni" (fried aubergines) and drinking tea on a rainy evening as one of them tells the tale of his first love.

This is a movie about the obsession that can be created by love. This love can be as innocent as a child, as dramatic as the husband of an unfaithful wife or as mysterious as a person who can go to any extent to achieve the woman of his desire. The best part of the movie is that it tells three (Teen) stories (Kahon) which took place in three different times. And the beauty is that each one of them is shot based on the time when those stories were taking places. The way of shooting a film has evolved from time to time and this change can be observed as we move on from one story to another. Amazing concept which gives you the feeling of traveling through time. My personal favorite is the Third one which was the story from the Director himself, but I will always admit the depth of obsession can only be felt through the second story where a betrayed husband is obsessed with the lover of his unfaithful wife.

Saw Three Obsessions (Teenkahon) at the Aravindan Puraskaram screening. I must say it was a very bad screening. Why would a prestigious award allow such bad screening? But I liked Three Obsessions. As a film buff, I must say it was very beautifully shot. Abhik Mukherjee is a master craftsman.He is brilliant. And as debut film this is quite remarkable. Ms. Beena in her citation read that "the filmmaker has exceptional command over the language of cinema." I agree with her. As a first time filmmaker Buddhayan Mukherjee has shown very good skills. The first story did remind me of Satyajit Ray but in a good way, the second one I thought could have been shorter but what a performance by the husband. The actor desrves prizes. The third one again was quite something. Asis Vidyarthi was superb in his role. And what an ending! Must watch.

One of the films i cannot forget after watching ..and its really intense..This Film may also scare you by its depiction of eroding human value system but then its a dark reality...The 3 stories here describe the change in thought process, emotional capacity,sensibilities about obsessive love ..it also depicts the change of language, lifestyle and attitude of people in our society since last 100 years..one question viewer may ask why to Show Obsessions and why Repression or Fear in name of Love ? ANd that is the point here this film is trying to make.. in the Present corporate & digital age where everything from fast food chains to shopping malls to education to personal relations - everything seems like a facade and no one really cares about anyone anymore except for their own desires & survival..this film sums its all.. ....please don't compare it with works of previous bengali film makers or European cinema of 70s to 90s..just watch it and enjoy the labour of love by debutant director Baudhayan Mukherjee ...its well shot , good sound mixing and great acting by some debutant as well seasoned actors

Teen (=three) Kahon (=stories, story-tellings) is billed as a triptych, but to me, it was not a three-fold story. The film is comprised of three separate stories - powerful stories by their own rights - that were bound together by a single thematic underpinning: all-consuming, obsessive love. None of these three was the typical Bollywood-flavored love stories that are churned out annually by the various vernacular film industries of India. Each story was complex, many-layered and gut-wrenching in their own way.

Some other reviewers have accused this director, Mukherji, of following too closely the other celebrated film-maker from his state, Bengal, the illustrious Satyajit Ray. Ray's influence, given his stature, is perhaps not an easy thing to avoid for serious film-makers of Mukherji's generation, but I didn't get that sense from these three films. Rather, the presentation and the color techniques used changed from film to film - and it seemed that the director has aimed to recreate small vignettes from three different periods of Indian cinema, perhaps his way of paying tribute to the 100 years of Indian movie-making.

I would recommend this highly to lovers of quality International cinema. I understand the language (Bangla), but the subtitles seemed to run from the screen a little too fast, which may make it difficult for non-Bengali audiences to get the nuances.