December 28, 2010, Kolkata/Tollywood (Calcutta Tube): SEDIN DEKHA HOYECHILO is a 2010 Bengali Film directed by Sujot Mondal starring Dev and Shrabonti in lead roles. Check out the complete movie gallery for Sedin Dekha Hoyechilo at Calcutta Tube and enjoy the review.
Cast and Crew:
- Cast: Dev, Srabanti, Premjit, Tapal Pal, Koushik Bandopadhyay, Laboni Sarkar, Mousumi Saha, Prasun Gayen, Supriyo Dutta and Shakuntala Barua
- * Banner: Shree Venkatesh Films
- * Presented by: Sreekant Mohta
- * Direction: Sujit Mandal
- * Music: Jeet Gangully
- * Screenplay and dialogue: N.K. Salil
- * Cinematographer: Mohan Verma
- * Editor: Rabiranjan Moitra
- * Art Direction: Tanmoy Chakraborty
- * Rating: 03/10
REVIEW: SEDIN DEKHA HOYECHHILO – UNIMPRESSIVE
by Shoma A. Chatterji
Sedin Dekha Hoyechhilo should have been a soft, syrupy and romantic love story to appeal to the mass audience. Sadly, director Sujit Mandal decides to make it an unhappy mix of a family melodrama, an action thriller, a love story and a part-musical saga. The consequence is a mishmash of song sequences shot in picturesque Switzerland, a lot of violence perpetrated by an autocratic landlord Neelkanto Roy (Tapas Pal) who uses his posse of goons to beat up four or five innocent young men suspecting them of conspiring in the elopement of his older daughter Anita with her lover-boy Ajoy on the wedding night. He even imprisons them in a godown in the compound of his palatial bungalow somewhere in North Bengal.
The pack of captive youngsters is led by Abir (Dev) a happy-go-lucky handsome hunk who plans an escape before daybreak the next day. As they go for the run to the railway station, Abir halts in his tracks, stopped by a fleeting glimpse of a wispy beauty praying in front of a Krishna idol in the middle of the forest. He decides to stay back because he has fallen in love with a girl whose face he has not seen only for a fraction of a second, whose name he does not know and whose whereabouts he has no knowledge about. His friends think he is crazy but they follow him nevertheless. The goons thrash them up all over again, one of many such thrashings to follow. Miraculously, Abir is left without a mark on his body. Abir never learns right till the interval that the girl he has fallen in love with is Nandini, the younger daughter of Neelkanto Roy. Nandini (Srabonti) is equally smitten by this young man but she cannot express her love because she does not wish her father to get hurt all over again.
Till this point, the film is one big y-a-w-n. The lovelorn image does not work for Dev because his screen persona and image are given a tilt that does not jell with the simpering expression on his face. Srabonti has precious little to do but prance up and down the stairs of her room, stand outside the godown where the youngsters are held captive and talk sweetly to Abir without showing her face. One would have loved to see the spark she displayed in Dujone and Amaanush. Dev needs to brush up on his emotional quotient as he remains wanting in these scenes. Tapas Pal as the autocratic, cold-blooded and cruel Neelkanta Roy gets a whitewash in the script towards the end. The script undercuts his brazen cruelty by explaining it away to his emotionally disturbed state but this whitewashing does not explain away what made him put his men to set a suspect’s house on fire in the village even before he begins to question the suspect. He seems to run a police state where the police cheerfully play the joker in his dirty pack of cards. Pal looks terrible in a bad wig. He acts as if he is suffering from spondyliosis that does not allow him to move his neck. He glowers at everyone around and spoils a good opportunity of a role that offered him a lot. Mousumi Saha as Nandini’s mother does not seem overly worried about the elopement of her elder daughter or the impending marriage of her younger one. The script reduces her to a joke when Neelkanto tells Abir twice that he (Abir) is indeed the person whose love for Nandini comes second after her father’s love for his dear daughter! It is as if the mother does not exist. Looking back, she really does not except in a purely physical sense dressed up in shimmering silks and a face free from worries. Laboni tends to overact as Abir’s mother and tries her best to look half her age.
Jeet Gangully’s musical score remains confined to the melodious and fast-beating opening song Khoka Babu and in his title composition sedin dekha hoyechilo but nothing much beyond that. The dream scenes shot in Switzerland look good but are less than cinema-friendly in this film. The second half filled with the entire group chasing every young couple looking for the fleeing Anita and Ajoy in Kolkata is hilarious at points and raises the watch-worthiness of the film a tad. Kanchan Mullick makes the audience go in splits as he runs down fathers of all girls who dare to marry below their family status, quite unwittingly touching a chord in Neelkanto Roy who is listening outside the marriage registrar’s office. One of the group of young fellows held captive is not Ajoy’s friend but has been caught because his name is the same as annother friend. This young actor gives a mind-blowing comic performance. Some comic moments make the film come alive but a group of men urinating together during a pause in the search intended to look funny actually looks vulgar and distasteful. N.K. Salil seems to have lost his grip over his story-telling and dialogue writing talents. This shows up right through the film. Not much is expected in terms of cinematography and editing but Tanmoy Chakraborty’s art direction of the godown where the youngsters are held captive is convincing.
Sorry, but Sedin Dekha Hoyechilo misses the mark except in very rare moments.