March 10, 2011 (Calcutta Tube): Lovestory Of A Superstar is a 2011 Bengali film directed by James Anthony with Joy Mukherjee, Pamela, Bobby Mishra, and others in the cast. Read the Bengali movie review at Calcutta Tube.
LOVE STORY OF A SUPERSTAR – UNWATCHABLE
Banner: Kaalloosthenic Entertainment
Producers: Pupender, Rupinder and Ranjan
Story and Direction: James Anthony
D.O.P.: Anil Xaviers
Music: Ashok Raaj
Script and screenplay: Krishanu and James Anthony
Choreography: Ganesh Acharya
Cast: Joy Mukherjee, Pamela, Bobby Mishra, Shubhomoy Mukherjee, Suman and Judhajit
Date of release: March 4 2011
[ReviewAZON asin=”B0044FDPA4″ display=”inlinepost”]
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The credit titles of Love Story of a Superstar show that Bengali cinema has finally transcended the confines of regionalism to welcome technicians from across linguistic and regional borders to widen its contours into greater cosmopolitanism. But having watched the film in an empty theatre with four other gullible film buffs like yours truly, this critic wishes Bengali cinema had stuck to its Bengali identity with its rich stories, unforgettable music, brilliant acting and soft romances with little or no action.
The ‘superstar’ in this film is Alisa (Pamela) who neither looks, nor acts, nor has been given the build up of a star, so forget about the prefix ‘super’. She lives alone with a single maid and a visiting boyfriend who lives off her income and bashes her up regularly if she refuses to give him money. Why she is so mortally scared of him and takes all this in no one knows. The opening frame is a badly choreographed dance number being shot for a film-within-the-film. Raja (Joy Mukherjee) is the lead male dancer while Alisa is his partner. The choreographer who is jealous of Raja, slaps him and would have thrown him out of the sets had Alisa not come to his rescue. The story of a superstar falling in love with a junior dancer who does chorus numbers in films and lives in a shanty sharing a room with a friend is something we have never seen happening even in the most absurd, D-grade Mumbai or Tamil or Kannada film. But this actually happens in Love Story of a Superstar where the superstar does not have a secretary, a driver,a bodyguard, a hairdresser, and is rarely mobbed. She has no hangers-on, nor is she prone to star tantrums. On the sets, one does not find a make-up man’s assistant moving around with his kit on a tray and a hand towel and hand mirror to hand over to the star when the lights are being changed.
Raja is no better. No one knows where he comes from, whether he is an orphan or not, and why he could not make it as a choreographer. He wallows in self-pity and takes in the insults of his jealous boss because he has no choice. The only realistic quality he has is that he tries to keep a distance from the superstar’s attentions but, thanks to her persistence, only for a little while. The song-dance numbers appear in dream scenes shot on lonely beaches and other places picturised, executed and choreographed very badly. Ganesh Acharya, one of the highest paid choreographers in Bollywood might not be wanted in Tollywood again if other producers are watching this film. Fortunately, they aren’t. Sad that a handsome hunk like Joy Mukherjee can do little more than choose very bad films to show off his rippling muscles and wooden face or cry like a baby for his dying girlfriend and turn crazy after her death. Pamela looks and acts well after we get to know that she is dying of lung cancer. The media makes no mention of this scoop or even the fact that she has left stardom to live with her junior dancer boyfriend. Who pays the bills may one ask? Come to think of it, this critic does not recall having seen a ‘director’ during the shooting within the film. Did this director too direct the film in absentia? One wonders!
Shoma A. Chatterji