ABAAR HOBE TO DEKHA (2012) Bengali Film Review – BAD



Shoma A. Chatterji

Banner: R.K. Entertainments

Presented by: Jazzy Movies

Produced by: Ranjan Jana

Direction: Jeet Goswami

Story: Aniruddha Ghosh

Screenplay: Rajendra Prasad Majumdar

Music: Anjali De, Kohinoor

Lyrics: Kohinoor, Abhishek

D.O.P.: Amal Mandal

Editing: Kshitij Rajkumar

Cast: Samrat Mukherjee, Sudipta Gon Chowdhury, Subrata Halder, Sreerup Banerjee, Ranjan Bhattacharya and Soma Chakraborty

Rating: 02/10

What does the word ‘fictious’ mean? This is how ‘fictitious’ is spelt in the pre-credits of Abaar Hobe To Dekha in the mandatory statement that informs that the story is based on ‘fictitious’ events. Aniket Chatterjee (Samrat Mukherjee) from whose point of view the story unfolds is shown in the flashback as taking in his “I.S.” examinations. We thought it was the IAS, the abbreviation for the highly prestigious Indian Administrative Service! We could have brushed this as a case of mis-hearing but the English sub-titles repeat this glaring mistake the director and the story-writer did not bother to rectify. In this scenario, one can almost predict what the film will be like. The hero, Aniket, after clearing his IAS exams, says how he will have to ‘apply’ for a job when candidates who clear the IAS are directly inducted into the services. They do not have to ‘apply’ for any ‘job.’

The brochure of the film contains a bigger passage on the ‘message’ the film contains than the synopsis. This message says that talks about many social realities like sex workers getting infected by HIV+ because neither they, nor their clients heed warnings about the mandatory use of condoms to prevent being infected with the HIV+ virus. It also talks about how, through a triangular love story becomes a sad one when faith is betrayed by one of the partners. It spells out how NGOs like Durbar Samiti personally visit sex workers from door to door to persuade the compulsory use of condoms.

The story has so many loopholes that one finds it impossible to ‘read’ the messages outlined above. It manages to raise questions that zero down to that one question – why such films are made at all? The subject – as per the printed message in the brochure – is very good. But the treatment and approach is certainly not good. The director has incorporated many sizzling scenes into the frames by conveniently turning Teesta’s husband into a person who gets sexually involved with his new ‘secretary’ who has been ‘posted’ there by his friend. When Aniket and she were separated because Aniket was studying, why were they not in touch through letters or the public telephone? Teesta’s harassing aunt managed to get a very good groom for the niece. How? What illness did Teesta suddenly suffer from in her husband’s place? We do not know. Poor Samrat Mukherjee as Aniket has been reduced to a junior artiste in a role that does not match his potential as an actor. Sudipta Gon Chowdhury in her debut film does not leave even a dot leave alone a mark. Besides, she looks quite healthy for a HIV+ victim. The film opens with a letter from his daughter who is coming back fromLondonafter her education. No one knows how she is linked to the story except when one arrives at the end of the film. But will you manage to retain your seat till the end? Or will you walk away like most of the audience on the day of the special screening?

Amal Mandal’s cinematography is the only commendable quality of the film. The songs are no good and are not positioned properly at all nor are they memorable in terms of the musical score and the rendering. Warning: Keep your distance from the theatres where this film is running. If the Bengali title is an indicator of a sequel in the future, make a run for it.

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