May 22, 2011 (Calcutta Tube): Ek Poloke Ektu Dekha is a 2011 Bengali movie directed by Supriyo Sinha with Anshuman, Dulal Lahiri, Bodhisatva Majumdar, Laboni Sarkar, newcomer Kasturi and others in the cast. Read the Bengali movie review at Calcutta Tube.
EK POLOKE EKTU DEKHA – NOT WORTHY OF THE GATE MONEY
Banner: Roshmi Pictures
Direction: Supriyo Sinha
Lyrics and music: Kohinoor and Abhishek
Story, screenplay, dialogue: Tapan Bhattacharya
Cinematography: Debashish Roy
Editing: Susmit Mondal
Cast: Anshuman, Dulal Lahiri, Bodhisatva Majumdar, Laboni Sarkar, Shankar Chakraborty, (Late) Ramaprasad Banik and introducing Kasturi
Date of release: May 13, 2011
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[ReviewAZON asin=”B003M5P9GK” display=”inlinepost”]The film borrows its title from an immortal musical hit rendered by the unforgettable Kishore Kumar. The song was from the rollicking comedy Luko Churi that had Kishore Kumar in a double role in a laugh-a-minute comedy you do not get to watch anymore. The title in this film is connotative of the beaten-to-death cliché ‘love at first sight.’ Nayan (Anshuman) works as a counter salesman in a garment outfit within a shopping mall. He charms young female buyers with his pep talk and his boss Dibakar (Dulal Lahiri) depends on him a lot. Then one fine evening, a beautiful girl who we later learn is called Moni, steps into the shop but does not buy anything promising to return later. By then, Nayan is almost head-over-heels and shares his dreams with his father (Bodhisatva Majumdar.) But the girl comes again and in no time, the song-dance routine in dreams scenes and out of them, occupy more useless footage than they are expected to without much happening except Nayan pretending to be the owner of the store. The local tea-stall owner (Ramaprasad Banik) backs him up and encourages him to go around with Moni who has already shared her secret with her doting mother (Laboni Sarkar).
Nayan carries on his bluff without knowing that Moni has already called his bluff as it is her father who owns the store but goes on as she is now very much in love with Nayan. There is nothing much to the story other than these song-dance scenes and the disappearing act Nayan plays when he realises that the truth has come out, fearing a reprisal and rejection from Moni. Nayan is insulted at Moni’s birthday party by her father and is asked to keep away from Moni as she is to marry another man of his father’s choice.
There is a family secret about babies switched in the cradles right inside the nursing home where Moni and Nayan were born. The script writer must have cooked this twist up in a hurry because it is so absurd that the director did not dare to linger on it lest the audience begin to whistle and boo and shoo the film down. The acting, except for veterans like Dulal Lahiri, Ramaprasad Banik and Shankar Charkaborty as a mafia ‘Bhai’ is downright amateurish and fails to pass muster. Shankar appears extremely funny in his Sanyasi get-up trying to make a run for it to chase Anshuman and shoot him down. Kasturi looks more attractive in person than through the camera that does not do justice to her looks at all. Anshuman tries to live through his baby-doll, pinching-cheeks bit but fails to convince. Laboni, dressed almost like a Christmas tree, is as usual, sweet and syrupy and a bit too sexy for Moni’s mother. The music is not only bad but the background score is terribly out of tune at places and jars on the ears. The cinematography and the editing do not matter in this kind of film and the only good thing about the whole film is its title, for one, and the acting by the veteran actors. Though the technical credits boast of categories like choreography, fight composer and décor, their contribution to the film is invisible. It is strange that even in this day and age, neither Nayan nor Moni have any friends they socialize with.
So, does the garment store salesman marry his boss’ daughter? No prizes for guessing the answer to this non-quiz, folks. At the end of the day, the title is the only imaginative thing about this film.
– Shoma A. Chatterji