Saathi Aamar Bandhu Aamar (2009) Bengali Movie Review-Ratings-Songs-Box Office
Saathi Aamar Bandhu Aamar is a 2009 Bengali Movie Directed by Anindya Sarkar and produced by Riya Arts. The Bengali Film stars Surya, Sinjini, Sabyasachi Chakraborty and others.
Review by: Shoma A. Chatterji
Cast and Crew
- Banner: Rhea Arts Pvt. Limited
- Direction: Anindya Sarkar
- Script Manjil Banerjee
- Cinematography Badal Sarkar
- Playback Kunal Gunjawala Avijit, Monali Thakur, Purnima
- Music Nishad Chandra (Mumbai)
- Lyrics Gautam Susmit
- Editor Susmit Mondal
- Dance Director: Kailash, James, Sudhakar
- Cast: Shinjinee Sengupta, Surya Dutta ( Samodarshi ),Sabyasachi Chakraborty, Raja Chatterjee
- Rita Koyral and others.
- Rating: 3/10
Doll is the only child of rich parents. Raj studies in the same college but is an orphan who lives in a poor neighbourhood and pays for his education by working as a stuntman in films. They are friends (bandhu) and hang out with the same group together. Their friends are convinced that the two are in love but Doll and Raj believe they are just friends. Doll is engaged to be married to a repatriate who is a corporate executive. A crazy girl in Raj’s neighbourhood is convinced that she is married to Raj. This creates a misunderstanding in Doll and she pushed her parents to marry her off to the waiting fiancé. Raj, out of hospital after a head injury, is shocked to discover that his old friends are avoiding him. He also learns that Doll is getting married to the boy chosen by her parents. A shocked and disillusioned Raj stops going to college and his work as a stuntman. He takes up a job in a courier service. His work lands him at Doll’s door. He learns that she is being brutally tortured and branded by her two-timing, alcoholic husband. She realizes that Raj is not just her friend, but her companion (saathi) too. The two decide to run away to New Jalpaiguri to begin life again. But her husband sets his goons on Raj and he is killed. Doll picks up a trident from God-knows-where and kills herself because the lovers had promised that they would unite in life or in death.
Surya Dutta as Raj shows some promise but has a long long way to go to hone his skills before he faces the camera again. Shinjini Sengupta as Doll needs to tone up her figure too before she can carry those skimpy dresses she wears in the film. She fails to emote in the serious scenes. Rita Koyral as her unthinking, unfeeling and crude mother redefines the term ‘motherhood’ for cinema and for real life. She hams from beginning to end and the script does not back her at all. Raja Chatterjee as Doll’s husband is okay. Sabyasachi Chakraborty is the only actor who holds himself with dignity as Doll’s industrialist father. Two characters in the script are unusual. One is the crazy girl who is cured in the end and the other is the conman whose lines are punched with terminology picked from the cell-phone vocabulary. The former is introduced for drama and conflict while the latter is for comic relief. The girl’s character is over done and lacks logic after a point while the conman relieves the proceedings of a rather unwieldy and rambling screenplay. Cinematography is flat with little resort to lighting changes but the production design for the slum neighbourhood is good. Nishad Chandra’s music is okay while Gautam Susmit’s ‘psychology’ number is cute if one is permitted to use the word.
The script is marred by distorted logic. Doll fails to gauge that the girl claiming to be Raj’s wife is crazy when her behaviour is so obviously crazy for all to see. Raj bursts out at her one day in college for having worn a revealing dress when he does not raise an eyebrow when she continues to wear skimpy dresses even after that. The things that hold the film together are – the unusual character twists, the rapid pace, and the freshness of youth. Shinjini’s dancing talent is wasted in the film.
The genre of the young college romance has its own USP. But it is not an easy job to bring out a film like Ek Duje Ke Liye or Chirodini Tumi Je Amar in a hurry. It is difficult to make complete amateurs act without at least some rehearsals and workshops. Anindya Sarkar has done some memorable work for television. One expected him to take greater care in his debut in feature film after a long wait of 22 years. He was possibly pressured by budget constraints. Thus, Sathi Amar Bandhu Amar, despite Anindya’s good intentions, fails to impress.