Bisorjon

The review of Aparna Gangopadhyay compelled me to write this review. The review emphasized on "look matters" - my question is: is that so, for this specific movie? It depends on a taste: what is fair or what is ugly, it varies person to person. Moreover in a nutshell, all the three main characters are portrayed as thoughtful and self-illuminated, like it used to be in the older movies e.g. Galpa Holeo Satyi (1966), though the context is different. Over and all, these characters do not belong to the so-called intellectual high-class of Bengalee society. The Character of Ganesh Mandal is an excellent piece of creation, who does not fall into any category of hero or ante- hero. And it was acted so marvelous way by the writer, director and actor Kaushik Ganguly, especially he used his face such a way that sometimes it appears to be villainous, the other moment it becomes a very helpless person (for example, when Ganesh laments and breaks down in front of Padma). This is altogether a rare piece of character and a rare piece of acting as well. The acting of lady protagonist Padma was also done so well by Joya Ahsan. The final moments between Padma and Naser Ali were so vastly marked with grandeur. The deep dramatic portion is enacted so well inside such a small space of the room, and it becomes a piece of art at the end. The folk music of this movie is an integral part and contributed much to this movie. The song on Ichhamati river reminds us another similar situation in Komal Gandhar (E-flat, 1961). The work of music director Kalikaprasad is absolutely praiseworthy. Not much enthusiastic about the color or the usage lights in the movie much, maybe it is because of the quality of the film one could watch. However the Naser Ali character, which is well-portrayed by Abir, has a kind of reluctance or diffidence. The success of the movie is that it drives us to many questions like why Padma liked Naser Ali, and did not like Ganesh Mandal? Is the reluctant and respectful Naser Ali was more attractive than Ganesh Mandal, who desires her awfully? This film actually tells us the stories of the people who live in the core part of society where around 25% are under poverty line, and where male parts of the society generally dominate and make all decisions for the other parts. One may take this as a fight of a lady to have her own choice for her partner; of course she fails completely in this structure of society, but she fought her best to be with her beloved however small it is; this fight is very important because it matters for the future.

This is one of those movies which you can sit back and visualize with your eyes closed, long after the movie has ended. The gist of the story as presented by others is definitely correct, but fails to uphold the craftsmanship displayed by Joya Ahsan, Kaushik Ganguly, Lama and others. The assertiveness and elegance with which Joya plays Padma will coerce the viewer to delve into multiple depths of psychology and the different shades of human character.

A pertinent question, as to why did Padma consummate with the rescued Indian trafficker can have countless explanations; physical beauty being the least likely. A destitute widow, who had given up her soul to protect the memories and everything related to her short-lived marriage, embraces another self-offering for a person she had given a new life to. No one can overlook the vulnerability and the yearn to live, to love, to being loved and respected in the eyes of the protagonist. Nasser Ali was that silly fellow who took refuge in the heart of poor Padma and rekindled her wishes to live again. His naive ways and dependence on Padma was probably one of the reasons she started feeling in love all over again with her married-self, doing the chores out of love and not burdened by duty.

Lastly, when Padma was being taken away on a van-rickshaw by Ganesh Mondal, she was looking stunningly beautiful as well as sad like the idol of Maa Durga on the day of immersion. With the dhak playing in the background, Padma not only sacrificed herself to Ganesh, but called upon herself, her own immersion in Love.

This is a story that reveals the human mind – rather a woman's mind – no a human mind actually.

Joya is a widow who lost her husband because he was a chain smoker and a drunkard. Instead of going back to her parents, she decided to stay back serving her aged father-in-law. As it happens with most young and beautiful widows, males of the locality try to take a chance by approaching them. But because the rich and influential man of the village – played by Kaushik – also had a major weakness for her, so no one else dared to approach her with dirty intentions. Kaushik was so much smitten by her beauty and simplicity that he took utmost care of her needs and requirements! He had a helper who kept a 24/7 watch on her whereabouts and reported to Kaushik! Because she wore white sarees, he had kept away his colourful shirts and wore white all the time!! He was himself a bachelor and intended to marry Joya someday.

In comes a stranger in her life – Abir – who was a petty thief from India. He was young and good looking and his presence start to make Joya miss her husband! Although she tries to help him contact his relatives back in India – but deep within she wished he stayed with her! Abir could not move much as he had hurt his feet – but the fact that a man was staying with Joya would be scandalous. So she makes up a story that Abir was her distant brother who was a businessman in India.

Kaushik smells something fishy and even hints Joya that he knows that she is hiding facts. When Abir is somewhat healed, he asks for her help to make him escape and save him from the prying eyes of the border security force. Joya then approaches Kaushik and seeks his help and promises him that if he successfully helps Abir out of the border, she will marry him!

On the last night of their togetherness, Joya seduces Abir to have a physical relationship with her...as the very next day she was about to sacrifice her life and marry the aged and not-so-attractive-at- all – Kaushik!ABir is helpless and out of pity, he makes love to her. She asks him not turn around and look at her sacrificed self (after Bisorjon, the idol looks dilapidated and broken – and she had sacrificed her life just to save Abir).

So what does the story indicate?

About Kaushik :

He is rich & powerful. He loves the lady madly. He goes out of his way to help her always. He wants to marry her. A permanent resident

About Abir: He is a petty thief. He is already engaged to someone. He pities her state (her widowhood and loneliness) He is a temporary visitor. He does not love her.

This lady opts for the petty foreigner thief and loathes the sight of the powerful rich man! Is it not a myth then...that women only go for riches? Or is it that 'only looks matter'....a heart of gold – full of love – can go to hell!?

Later it is indicated that Joya gives birth to a baby boy who is actually Abir's.......confirmed by a birth mark.

Basically what Karan Johar says blatantly in his film – 'Only looks, looks, looks matter' - Kaushik Ganguly said it subtly!

Very emotional and heart touching love story. Don't have enough words how to describe the film. Just Masterpiece.

This movie gives us a chance to glance into the livelihood of people living along the edge of river Icchamati - dividing India and Bangladesh. Set at the time of Bijaya Dashami, the last day of Durga Puja and the day for immersion of idols ('bisorjon'), immense number of people gather along the bank of the river, just to visualize the immersion of many idols of Gods and Goddesses coming from both India and Bangladesh. But this is an auspicious time for traffickers and evil people.

Here, in this story, a trafficker - trying to save his life, gets into Bangladesh, has troubles and thereafter gets care-taking from a Bangladeshi widow. She hides his identity, faces troubles, undertook sacrifice and finally helps him escape. But, the memories stay, with an additional trademark - their son.

The most noteworthy performance is that of Joya Ahsan - without her, the film wouldn't have been of that level. Kaushik Ganguly, as an antagonist, was fine. Abir Chatterjee was OK, but could have been better. The humanitarian, respectful among people of different religions is well-displayed. The pace of the movie also slows down a bit towards the end.

But still, this movie is one of the 'good' movies that has been released in the 21st century, and a worthy winner of the National Award for Best Bengali Film.