January 23, 2011 (Calcutta Tube): APON SHOTRU is a 2011 Bengali film directed by Sushanta Saha starring Indrajeet, Arunima, Angshuman, Arun Banerjee and others. Enjoy the complete film review of APON SHORTU at Calcutta Tube.
Cast and Crew:
- Presented by: Mohan Films
- Producer: Tapas Kumar Mukherjee
- Direction: Susanta Saha
- Music: Ashok Bhadra
- Story, screenplay and dialogue: Tapas Kumar Mukherjee
- Lyrics: Gautam-Susmit
- Cast: Indrajeet, Arunima, Angshuman, Arun Banerjee, Debesh Roychoudhury, Kalyani Mandal, Biswajit Chakraborty
- Date of release: January 7, 2011
- Rating: 01/10
APON SHOTRU – GIVE IT A MISS!
Raghav (alias Rakhal Bagchi) is a mafia don. He has four henchmen democratically handpicked from different communities and races. The fat one, a Muslim, wears his glares on his forehead. The macho six-abs guy wears sleeveless vests in bright colours and long sideburns. A semi-bald silent man wears a hat even inside the house while the Black man wears medallions and beads on his bare torso, smiling stupidly all the time. Raghav himself makes a fashion statement in white-framed glares, inside and outside his home in addition to a white goatee. This is perhaps the sole point of imagination the director shows throughout the film.
Story wise, Apon Shotru it is a harking back to the Prakash Mehra brand of two brothers lost as little boys. Amit is brought up by Uncle John who once played the violin in a Goa nightclub but now runs an indigenous training school for street children teaching them the fine art of picking pockets. He christens Amit (Indrajeet) with a new name, Michael and takes off the Shiva locket he wears to strip him of his original identity. Michael grows up to be a pickpocket but gives it up with one raised eyebrow of his newly found girlfriend (Arunima). His younger brother Sumit (another Anshuman?) who lives with his mother (Kalyani Mandal) grows up to become a high-ranking police officer without going the promotional route or even taking his IPS exams. He is informed about the wrong-doings of Raghav who, unknown to all of them, is his father who deserted his wife and kids after killing a dancing girl to become a big mafia don. But his ‘committed’ wife persuades her son not to punish the criminal father. The defence lawyer suddenly pops out a long list of philanthropy indulged in by a criminal who has engineered dozens of killings in cold blood and has not blinked an eye before leaving his wife and two little sons to die on the streets!
This smuggler-killer-criminal is let off with a light sentence thanks to the benevolent attitude of the very family he left behind to die to save his own skin! He even comes out of prison to find his family entourage waiting to welcome him home, including his two daughters-in-law with their kids in tow. So, where is the significance of the title – ‘apon’ meaning ‘your own’ and ‘shotru’ meaning ‘enemy’? The writer who is also the producer of the film probably forgot that the title needed to link with the story. Nor did it occur to the director to notice the lapse. But really, do all these link-ups matter in a film that reduces Biswajit Chakraborty to a junior artiste and makes Debesh Roy Choudhury ham through his melodrama? Arunima is a glamorised extra in the film and so is her peer, Anshuman’s girlfriend who smokes and drinks alone in a pub and her police officer boyfriend does not care to question her later when they meet. He is probably scared of a girlfriend who is old enough to be his aunty. Arun Banerjee is terrible as Raghav and Kalyani Mandal conveniently skirts the challenge of a non-performing role by turning on the glassworks as much as she can. To make matters worse, there is a terribly choreographed and picturised item number and the song-dance number of Anshuman and his girlfriend shows how not to dance, specially the girl. So far as other technical details such as music, lyrics, cinematography and editing go, do they really matter in a film like Apon Shotru?
Shoma A. Chatterji