Kichhu Chaoa Kichhu Paoa (2010) Bengali Movie Review
Kichhu Chaoa Kichhu Paoa is a 2010 Bengali feature film directed by Shankar Roy starring Soham, Swarna Kamal Dutta, Indrajit Chakraborty, Arpita Becker and others. A family drama to start 2010.
- Genre: Romance Rating: U
- Cast: Soham, Swarna Kamal Dutta, Indrajit Chakraborty, Arpita Becker
- Director: Shankar Ray
- Music: Sunil Majumdar , Rohim Raja , Soumitra
- Story: Debashish Basu
- Producer: Kolkata Entertainment
- Lyric: Priyi Chatterjee
One girl, two guys. Girl marries Guy 1. Guy 1 goes to war and does not return. Girl marries Guy 2. Guy 1 returns. Girl dies while giving birth to a baby. Guy1 and Guy 2 decide to take care the baby.
KICCHU CHAOA KICCHU PAOAA: TWO MEN AND A BABY
by Shoma A. Chatterji
Without mincing words, this critic would like to point out that veteran filmmaker Shankar Roy’s Kicchu Chaoaa Kicchhu Paoaa is a sophisticated (?), modernised and Bengali-ised celluloid narration of the tragic, real life story of the young girl Gudia from Deoband in India that was took top place across all news channels some years ago. Some ingenuous producer in Bollywood even thought of making a film based on Gudia’s story but for some reason, it did not materialize. However, it goes to the credit of Roy that he hit this idea much before his peers did.
A glimpse into the real life story is called for. Gudia, a girl in her teens, was married to an army jawan, Mohammed Sharif towards the end of the 1990s. But he had to leave for duty soon after his marriage. He was declared an absconder by the army. Since there was no news of him, Gudia’s father, Himamuddin consented to her marriage to Taufiq and Taufiq’s parents blessed the marriage too. The marriage was solemnized on February 1, 2001. But as Arif had disappeared without trace, the wedding was against the Shariyat laws because there had been no talaaq. Gudia and Taufiq settled down to a happy wedded life and Gudia also became pregnant. But Arif returned and claimed that Gudia was his legally wedded wife and should go back to him. He initially refused to accept the unborn child but later relented. The ulemas who had declared that Arif was still the legally wedded husband of Gudia, also said that the child would be a legitimate issue of Taufiq and all Shariyat laws for upbringing of such child would apply. Placed under tremendous pressure, a weak and very pregnant Gudia agreed to go back to Arif. But soon after being delivered of a boy, she died, leaving the two men to decide the future of the baby.
Those who know and remember the Gudia case will perhaps recognise the similarities. ‘Perhaps’ because Roy has laundered the characters so well that though the storyline is identical, the similarities are heavily cloaked by buckets of tears shed by everyone concerned, lots of fights between Madhuri’s second husband Uday and the local goons who have an eye on her, song-and-dance numbers shot in exotic locales, some snowcapped, some lush green generously dotted with flora and fauna, and the victimized but beautiful Madhuri almost omnipresent in every frame.
Kicchu Chaoa Kichhu Paoaa however, fails to tap the dramatic potential present in this real life story that motivated its making in the first place. With all her beauty, Swarnakamal Dutta as Madhuri, the central character, is a miserable actress and dancer and cannot carry the Western dresses she wears within a West Bengal village. Her co-actors, Indrajit as husband Raja and Soham as Uday the second husband fare better but suffer from bad scripting of their characters. Biplab as Madhuri’s school-teacher father does little else by grimace wildly while Arpita Baker as Madhuri’s wicked mother-in-law is dressed to her teeth in every scene even when she hears that her son is missing. Madhuri saunters into the classified army camp every day to look for Raja as if it is in her neighbourhood. No one stops her, a civilian, from freely moving in and out of the camp. She even gives a small lecture to the defence minister who is stunned speechless! Who is this beautiful elderly lady who Uday lives with when his father and sister live in the village? All we know is that she is a very rich doctor and runs a kind of charitable nursing home who appoints Uday’s fisherman father the ‘manager’ of her estate! Though Madhuri acts the sada suhagan when her husband goes missing, she fails to wear the sindoor in her hair parting which makes it convenient for Uday to think that the beautiful girl he is in love with is single. On the other hand, the doctor lady (Anuradha Roy) hands her the covered box of sindoor vying for its eternally magic powers!
Roy has woven in too many sub-plots and negative angles that spoil the film. The dream scenes with songs and dances are ruined despite the beautiful locales because Swarnokamal cannot dance and does not even try to. The music is so-so and very loud and ditto for the costumes. The two merits of the film are – the action scenes, most of which have been done with conviction and the beautiful locations for the song-dance sequences picked with care by Roy and his art director. The sound is deafeningly loud and dialogues cannot be understood clearly.
This critic dare not give this film a rating more than two on ten.
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