October 3, 2010, KOLKATA (Calcutta Tube): MON CHAYE TOMAAYE is a 2010 Bengali Film directed by Prabir Kar starring Moubani Sorcar, Kamlesh (Mumbai), Soumitra Chatterjee, Debika Mukherjee and others. Enjoy the complete review of MON CHAY TOMAAYE Bengali comedy cinema at Calcutta Tube.
Cast and Crew:
- Presented by: New R.S. Production
- Produced by: Ramchandra Sau and Samar Sirkar
- Screenplay, dialogue and direction: Probir Kar
- Music: Kaya
- Story: Robin Naskar
- Lyrics: Soham
- Cast: Soumitra Chatterjee, Debika Mukherjee, Moubani Sorcar, Kamlesh (Mumbai), Pamela Mandal, Subhashish, Premjit, Irani Mukherjee and others
- Date of release: October 01, 2010
- Rating: 3/10
MON CHAYE TOMAAYE – HILARIOUS!
If comedy was missing from your life, no thanks to absence of comedy in life and films, or, the forced fun in mainstream Bengali films that makes you cry, or, the abundance of glycerine, then please go and watch Mon Chaye Tomaaye ASAP. The story is a road-romance that shows love blooming between a young schoolgirl and a young boy thrown together to journey in the latter’s car to Siliguri devastated by bomb blasts. Oni (Kamlesh) is going to celebrate his widowed mother’s (Debika Mukherjee) birthday while Riya (Moubani Sorcar) has hitched a ride in his car because her father is missing post the bomb blasts. So far, so good. Along the way, the story steps into a haunted house filled with ghosts waiting for the bridegroom to arrive to marry the waiting female ghost Rupeshwari whose paramour was battered to death by the family in a ‘khap’ Panchayat ruling. She died of shock when she saw this. The director does not know whether the khap Panchayat existed in Bengal 300 years ago when it does not exist now. Oni agrees to marry Riya and not Rupeshwari. They suddenly wake up in front of a dilapidated mansion as if from a nightmare and get back on the road to Siliguri. When they reach the city, they part ways promising to meet soon.
Family reunions take place in the midst of glycerine and laughter and birthday cake with the audience seeing the ghost of the first smile on Oni’s mother’s grumpy face. Oni is suddenly called to report for a new job as photographer though we see him looking at architectural drawings and talking about the designing of the new bungalow which seems to be a hotel. His boss, Kalpana (Pamela Mandal), makes seductive overtures to him and he forgets all about his promise to Riya. Kalpana in reality is Roopeshwari who has been given a 2010 makeover by the script. Angered by Oni’s earlier rejection of her hand back in that haunted house, she is determined to win him back. From this point on, the film unintentionally becomes a hilarious comedy. Kalpana is a modern-day ghost with a past that goes back 300 years. She picks her clothes from an invisible designer wardrobe to seduce Oni who seems to be confused about whether to respond or not to respond. She does an item number, day-dreams about taking part in a Santhali dance in the forests, has day-dreams about frolicking with him in a song-dance number and so on. The only thing this ghost does not do is get pregnant! Her ghost parents, who killed her paramour 300 years ago, suddenly persuade her not to pursue Oni, as, being of the world, he has a body and she does not. When she does not listen, her ghost mother gives her a stinging slap. This is surprising because she does not have a ‘body.’ Her ghost father keeps repeating ‘time is limited’ at the end of every sentence though they have been spiriting around for 300 years! Riya runs away from her lavishly mounted school hostel to look for Oni and then contemplates suicide. But the repentant Oni, rid of Kalpana who has disappeared yonder wraps her in his arms. The members of their respective families land near suicide point and everything ends happily ever after.
If you keep your logic and your expectations outside the theatre and your mind completely open, Mon Chaye Tomaaye really gives you the chance to laugh away your woes in this very unlike-ghost-film ghost film. The aesthetic imagination that has gone into the art work that forms the background for the credit titles is amazing. It raised some hopes of the film being different. It turned out to be ‘different’ all right but differently different. Kaya’s musical score including the song tracks are very good especially the title song belted out in two versions, a male and a female voice. The acting honours lies at the door of newcomer Pamela Mandal who gives a very seductive account of a ghost on celluloid. The script has given her preference over the heroine Riya who looks beautiful in a sari. Ace veterans like Soumitra Chatterjee and Subhashish Mukherjee are wasted in inane roles while it is shocking to have to see Premjit reduced to the category of a junior artiste.
By Shoma A. Chatterji
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