Shotyi Bole Shotyi Kichhu Nei

I don't remember writing a detailed film review in IMDb, but this film deserves one due to two primary reasons: 1. This is the best film of Srijit Mukherji that I've seen in theatres.

2. This is the comeback of this extremely talented filmmaker that as fans, we had all been waiting for.

When it was first announced that Srijit Mukherji was going to adapt '12 Angry Men' in Bangla, I was very skeptical, given SM's track record over the last few years ('Padatik' was very good, and 'Tekka' too I liked). This was serious business. Adapting one of the greatest films of all time is a risky proposition. I didn't find the teaser or the trailer very unique, but the film convinced me to become a fan of SM once again.

Positives: 1. The performances: I would be doing the film a disservice if I didn't start with performances. EVERY SINGLE ACTOR WAS BRILLIANT! I don't want to take individual names here, because then I have to write all the 12 names, which is, frankly speaking, unnecessary. Every single one of them perfectly understood the tone and pitch of their individual characters and performed to perfection.

2. The screenplay: This has been one of my recurring complaints regarding SM's recent films (barring 'Padatik'). This film has a runtime of 2 hours and 7 mins with an absolutely tight screenplay. Not a single scene feels boring or unnecessary while giving every single character space. That's a tough balance to strike with a multi-starrer like this.

3. The cinematography: Every single scene is shot beautifully. There are a few location changes, and those have a reason (won't reveal that here because that would be a spoiler). The frames are pretty good and the camerawork, especially at two points at the end of the film, is superb.

4. The dialogues: SM's films always have good dialogues, and here every single character has got some great lines. The humor, especially in the first half, is unexpected, and it really works.

5. The music: The film has two songs, both placed impeccably in the film.

6. The overall concept of integrating the jury: As we know, the jury system has been abolished in India a long time ago, but the technique that has been used to integrate that in this film, I found that to be pretty ingenious.

7. The easter eggs: A scene showing 'Ek Ruka Hua Faisla' being performed on stage, small references to a few of SM's previous films, and a beautiful Tenida reference were beautifully integrated with the screenplay.

Negatives: 1. This film has one major negative point for me, which is actually a little important with respect to the screenplay, but it is a problem that cannot be really helped. The backstories of a number of characters have been shown here. Although that does provide context behind the reasoning of these characters, it also somewhat takes away the shock element of every revelation and decreases the overall philosophical impact of the film. It feels a little predictable, that is all.

2. At certain points in the film, it feels like the reasoning of quite a few characters is forced, that is, they already have doubts, but still are doggedly sticking to their original decision, which feels a little unrealistic at times.

Overall, I have to say, this is Sijjidda's true comeback. I was mighty impressed by the film and the scenes are still etched in my brain. I hope he continues this streak and keeps making films of this, or an even higher level.

9/10.

Golpo Holeo Sotti attempts to weave together elements of folklore, faith, and socio-political commentary into a thought-provoking cinematic experience. One aspect that particularly stood out was the film's portrayal of Sanatan Hinduism, especially in its more orthodox or traditionalist form. The filmmakers clearly intended to explore the cultural roots and spiritual dimensions of the faith, though the execution occasionally veers toward portraying a narrower, more rigid perspective of the community.

While artistic liberty is part and parcel of storytelling, I sincerely hope that in future works-especially in the wake of deeply unsettling events like the Murshidabad incident-filmmakers will take a more measured and balanced approach. It's crucial that upcoming films make a conscious effort to represent the Hindu community as it truly exists on the ground: diverse, layered, and overwhelmingly peaceful.

Sanatan Dharma is a tradition that embraces tolerance, philosophical depth, and coexistence. Yet, public narratives-both in news media and popular entertainment-often reduce it to simplistic binaries. Cinema holds immense power to either reinforce these reductive views or challenge them by offering more holistic and respectful representations.

As such, while Golpo Holeo Sotti deserves recognition for initiating a conversation around faith and community identity, it also serves as a reminder of how much more needs to be done in portraying Hinduism, and its followers, with authenticity and empathy. One can only hope that future films will rise to this responsibility-moving past stereotypes and dramatizations-and instead highlight the lived realities, spiritual richness, and peaceful foundations that define the Hindu way of life.

Shotyi Bole Shotyi Kichhu Nei starts with an intriguing premise-blending dark humor and social commentary-but stumbles under the weight of uneven storytelling and underdeveloped characters. The film's satirical take on societal hypocrisy and existential crises holds potential, yet the script struggles to balance tone, oscillating awkwardly between slapstick comedy and introspective drama without committing fully to either.

Performances are a mixed bag: while the lead actor brings sporadic charm, much of the supporting cast feels wooden, failing to elevate thinly written roles. The pacing drags in the second act, with repetitive dialogues and predictable twists that sap momentum. Directorially, the vision feels muddled-ambitious visual metaphors (like recurring motifs of emptiness) are overshadowed by cluttered framing and jarring edits.

The soundtrack, though catchy, often feels misplaced, undercutting emotional beats. While the film's critique of materialism and identity in modern Kolkata is timely, its message gets lost in a sea of half-baked subplots.

A missed opportunity. Watch only for fleeting moments of wit, but don't expect depth or coherence. Forgettable, despite its bold ambitions.

After watching #ShotyiBoleShotyiKichuNei I am convinced that Srijit Mukherji is back!! What an adaptation....

I don't think I am qualified enough to comment on his art, but as an avid movie lover of all kinds, I think Srijit Sir has once again proved that he is the ruler...

About the actors, Parambrata Chattopadhyay , Kaushik Ganguly , KoushikSen and Ritwick Chakraborty are the pillars, like I said, they are masters of their trade and don't need anyone's signing off - but the others have all contributed in the right measure like a beautifully orchestrated symphony... Sauraseni Maitra you nailed it in a single scene, Kanchan Mullick my respect for you keeps growing, Anirban Chakrabarti so good to see you in a different kind of a role, Ananya Chatterjee the voice...loved it...kudos to everyone...

Brilliant vision, brilliant directorial creativity, excellent cinematography...I can go on and on...

IT'S NOT JUST A MUST WATCH .. IT'S A CELEBRATION OF CINEMA...

This is a bold and imaginative adaptation that stands out for its presentation, creating a surreal and visually striking experience. The film's screenplay and plot have also been thoughtfully adapted to reflect West Bengal's socio-cultural scenario, grounding the story in a local context that adds authenticity and relevance. The cinematography and background score are strong aspects of the film, helping to create a compelling atmosphere. The visuals are thoughtfully composed, and the music supports the tone of the narrative well. The film maintains a unique tone throughout, staying true to its vision.

However, while the concept is fresh and the presentation ambitious, the execution isn't without flaws. The direction and screenplay are the film's biggest weakness, suffering from overlapping, unnecessary, and at times clichéd dialogue. This affects the overall engagement and flow. Additionally, some of the performances feel unconvincing and forced, suggesting that a few casting choices may not have been the best fit for their roles.

Despite these shortcomings, Shotyi Bole Shotyi Kichhu Nei deserves credit for trying something unique. It may not be perfect, but it offers a unique cinematic experience that's worth watching for its creativity and visual storytelling.