Television

I went to the cinema on the very first show with enormous positive anticipation about this film as it has got the highest media hype in our country. The film entertained me on various angles but I was not mesmerized or something like that. I was convinced that it was a good film because of the intriguing content, standout performance by one of the main actors - Mosharraf Karim, and the twist in the later part of the movie. The cinematography could have been much better. The director used the "handheld camera" technique in random sequences and it didn't serve the point. As we all know that this technique is mainly used to create intensity in an intense sequence. Misunderstanding this concept, can create viewing disturbance. I would have talked about some more aspects but unfortunately I won't. Because this film does not deserve the actual criticism. Let me tell you why.

The main shocking fact about the film is, this film is a total conceptual copy of another Turkish film "Vizontele". The main concept in both films is, bringing a television to a remote village and creating the story of how the people and the society react to it. The design of the script in both movies are aimed to entertain the audience by the situational humor and the shocking ending. I would say that in case of disturbing ending, the Turkish film was light years ahead. It slaps you hard out of nowhere. In "Television", the same scripting design was followed by the writer and it might move you if you didn't see the Turkish one. But as a Director like Sarwar Farooki, I am deeply disappointed by this silly attempt of deceiving the audience. After finding all these, I totally lost all the charm about this movie and I think the director should answer this grand theft.

Mostafa Farooki is a very popular director and a creative one. But if he starts thinking that he can watch the less known movies of world cinema (in fact, "Vizontele" is not so less known) and make movies out of those, he should just join the mainstream Bangla Cinema and do the Bollywood rip offs. It would be easier, isn't it?

After launching a quite promising festival run, Mostofa Farooki's Television finally got released at home. Like other Farooki film, this film also got a grand reception from the youth. And why not? The film is so refreshing in style, content, and treatment. Farooki handled a very delicate subject with a great cinematic sensitivity which took audience to a roller-coaster journey of humor and emotion. Generally, films with this much of depth in the content tends to end up looking very airy, too idealistic, and drab. But Television delivers a quite entertaining journey thanks to a very solid story-telling, well thought-out shot-divisions, and brilliant performance by actors. Shahir Kazi Huda, Mosharof Karim, Chanchal Chowdhury, and Nusrat Imrose Tisha's name should be mentioned specially. Like many other audiences, I am totally blown away by the film! One strange allegation caught my eyes that needs to be replied! I don't know who invented this but a kind of connection between Television and a Turkish film Vizontele has been invented by a small group of Bangladeshi over-enthusiastic people! This allegation made me and my film-buff friends so sad. Then we collected and watched Vizontele and found no similarity in the storyline, concept, style, or treatment! Two films have two different plots, two different intentions, and two different philosophy. If just 'in both the films, a TV set is brought to a remote village and that stirs lot of incident and both are humorous and both have a stunning ending'- this makes two films similar then I am very sorry to say- you will not find a single original film in the world. This is such a poor and unfounded allegation. I would wrap this review with a single line- this is the most refreshing cinema from Bangladesh.

In a rural village in present day Bangladesh (though sometimes the village seems to have frozen in time, at times only the presence of cell phones tell us we are in the present), a strict religious elder, called the Uncle by the scared locals, has banned the presence of television, among other things, as he believes the Koran bans the creation of images. This is not well taken by the local community, who seems less bothered by the coming of modernity than he is. A subplot has the tentative, clandestine and obviously chaste romance between a pretty vivacious girl called Kohinoor, that seems to represent a more modern face of the country and the cowed son of the Uncle.

Since I have never been to Bangladesh, I don't know how realistic this film is. The movie is interesting and never boring, though it sometimes goes over the top. A more subtle approach would have served it better. For instance, the village leader is almost always portrayed as an ignorant thug, a petty tyrant over his fellow villagers. A sign of his ignorance is that his desire to go to the Hajj crashes down when he realizes that he needs a passport, yet taking a photo for it is a big no no according to his beliefs. Only in the final scene, we are able to empathize a little with him.

As an American I'm getting completely bored with US TV & Film. I find Asian cinema to be really refreshing and interesting. I'm late to the party with this film Television and am so glad to have seen it. Beautifully shot in Bangladesh (the country just pops with color), authentic characters, wonderful script, with an absolute killer plot twist in the end. Can't say enough about this film. SEE IT!

Television, directed by Mostofa Sarwar Farooki, is a thought-provoking Bangladeshi film that explores the impact of modern media on rural life and cultural traditions. Set in a small village, the story centers around the character of Apu, a simple man who becomes embroiled in a local controversy after a television set is introduced to the community.

The film brilliantly juxtaposes tradition and modernity, highlighting the transformative power of television. It showcases how the arrival of a TV can change social dynamics, bringing both excitement and conflict to the village. Apu, played convincingly by the talented Chanchal Chowdhury, is portrayed as a reluctant yet relatable protagonist, caught between his conservative upbringing and the allure of the new media. His internal struggles and eventual decisions form the emotional core of the film.

Farooki's direction is commendable, balancing humor with serious social commentary. The screenplay effectively blends satire with drama, providing sharp insights into the clash of values and the complexities of human relationships in a changing society. The dialogues are witty and engaging, adding to the film's appeal.

The cinematography captures the essence of rural Bangladesh beautifully, with vibrant visuals that enhance the storytelling. The music, featuring a blend of folk and contemporary styles, complements the narrative and adds to the film's overall charm.

One of the film's strengths is its ability to provoke thought without being overly didactic. It encourages viewers to reflect on their own relationships with technology and the media, while also addressing broader themes of identity and cultural preservation.

However, some viewers may find the pacing uneven, with certain scenes feeling prolonged. Nevertheless, the film's engaging narrative and relatable characters keep the audience invested throughout.

In conclusion, Television is a captivating film that successfully merges entertainment with meaningful commentary on the effects of modern media on traditional values. It is a must-watch for anyone interested in the evolving cultural landscape of Bangladesh and the ways in which technology shapes our lives.