KEE KOREY BOJHABO TOMAAKE (2012) Bengali Film Review

Take a pinch of Dhund (1973), punch it with two or three generous cups full of Jism (2003) and add a few pinches of dramatic twists and turns of your own. The dish that comes out of the cold storage is Kee Korey Bojhabo Tomaake directed by Chhaya Singh who uses the film as her launch pad into acting.




Shoma A. Chatterji

  •  Produced by: Theatrical Definitions
  • Directed by: Chhaya Singh
  • Story, screenplay, dialogue and post-production: Arif Riaz
  • Cinematography: Thomas Xavier
  • Editing: Susmit Mondal
  • Music: Ashok Bhadra
  • Lyrics: Usman Ghani
  • Choreography: N.A. Tara (Chennai)
  • Cast: Arjun Chakraborty, Chhaya Singh, Tanveer, Payal, Rwik, Rajat, Ashique and Joy     Badlani
  • Date of release: April 13, 2012
  • Rating: 02/10

The most outstanding feature lies in its name Kee Korey Bojhabo Tomaake. It translates as – ‘how can I make you understand?’ In this one question lies the scriptwriter’s and the director’s triumph. The critic could not understand the bottom line which demonstrates proudly according to writer Arif Riaz that all men are fools and a single woman like Sapna (Chhaya Singh) can twist them smoothly round the little finger of her left hand without their even realizing what hit them! Men can kill and men can wreak havoc but they have no intelligence and need to be pushed by a woman.


Vikram (Tanveer) jaywalks down the street to be hit by a car driven by the beautiful Sapna (Chhaya Singh) and the two get into an argument. She comes to him in the middle of the night and shows him the welts on her back as proof of her husband having bashed her up. He becomes a chauffeur in her house only to wince and grimace helplessly as he watches her wheelchair-bound husband Biswanath (Arjun Chakraborty) treating her like an animal. They make love in the night and no holds barred. But she cannot leave him because her dead parents have transferred the property in his name and he has transferred it in the name of Aparna, his kid step-sister (Payal) who is having an affair with the local policeman Uday (Rwik). Sapna hands Vikram a revolver but calls it a pistol because she probably does not know the difference. Instead of killing Biswanath according to Sapna’s plan, Vikram gets shot at by Sapna after having killed Payal. Lo and Behold, Biswanath steps out of his wheelchair to be kissed fondly by his wife. Twists begin but do not end. The film closes with Sapna driving away into the horizon capturing her latest ‘catch’ – Vikram’s friend. Her husband is lodged in prison for taking the blame for Vikram’s murder and the inspector (Joy Badlani) is silenced with a bundle of notes handed over in the police station quite openly.


Oka Uri Katha (1977) is a classic film in Telugu based on Munshi Premchand’s Kafan. It was directed by Mrinal Sen though the director did not know a word of Telugu. But he was an internationally renowned director when he made the film. Everyone is not Mrinal Sen and definitely not a debutante director like Chhaya Singh who directs her first film in a language she cannot utter one word in. The script-story-dialogues are also written by Arif Riaz who is not a Bengali nor is Tanveer who portrays the hero. Even the dubbing artists do not know the language. The dialogue is translated from Hindi into Bengali in toto by someone who has vague knowledge of both languages and uses Hindi words like darinda by rounding off the vowel and pronouncing it as dorinda not once but several times. The grammatical construction of the sentences is also wrong at many places.


The choreography is terrible and so is the picturisation of the song-dance sequences. Payal can only scream out her lines in her shrill voice. Chhaya Singh is very attractive and can carry seductive roles well but she looks much older than Tanveer and cannot hide that she does not know the language at all! A brilliant cinematographer like Thomas Xavier will probably have a heart attack if he sees how the editor has done a hatchet job on his cinematography.


Arjun Chakraborty is the sole savior apart from the small byte offered to Joy Badlani. Sorry, Chhaya but you better learn the language before you decide to direct a film in it. Naam ka vaaste Bangla chhobi – is the bottom line of Kee Korey Bojhaabo Tomake.


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