March 14, 2014 1:00:24 am
Direction : Sudeshna Roy and Abhijit Guha
Music : Raja Narayan Deb
Cast : Abir Chatterjee, Ananya Chatterjee, Alakananda Roy, Aparajita, Tridha Choudhury, Arjun Chakraborty, Mithu Chakraborty, Koushik Ganguly, Biswajit Chakraborty and Sujan Mukherjee
By Shoma A. Chatterji
Jodi Love Dile Na Prane is, perhaps, Sukanta Gangopadhyay’s first literary creation for the large screen. It explores different dimensions of love, whether it exists in this increasingly globalised world, whether marriage sustains or destroys it or whether it can be ruined through suspicion.
The film is structured within a film being scripted on love for a strange businessman Rahul Bose (Koushik Ganguly) who says he will fund it to recreate the love that once existed between him and his wife, a renowned danseuse. Rana (Sujan Mukherjee), a reasonably successful film director, asks his assistant Moinak (Arjun Chakraborty) to write the script. Moinak tries to create a story based on the love story he witnessed as a boy of seven, between his much older cousin Shonada (Abir Chatterjee) and neighbour Paromitadi (Ananya Chatterjee). But their love did not end on an happy note and they marry different partners. In his search to find what stopped them from getting married, he strikes up a friendship with Aheli (Tridha Choudhury) Paromita’s grown-up daughter who is confused about who her real father is. Paromita, who has persuaded her husband to relocate to Kolkata from Delhi after 20 years, wants to know why Shonada failed to turn up at the marriage registrar’s office so many years ago.
In their first serious film, director-duo Sudeshna Rou and Abhijit Guha have dealt with a difficult plot with conviction. However, the characterisations of Paromita and her husband Salil (Koushik Sen) are too distant from reality. Abir, Ananya with Alakananda Roy as Abir’s mother constantly waiting for her husband have done a brilliant job as also the young Arjun Chakraborty and the beautiful Tridha Choudhury. Raja Narayan Deb’s low key and melodious background score with four songs shot using the landscape of Kolkata, Bolpur and Murshidabad, as Subhadip’s visually rich camera wanders across to create a beautiful texture.
In a patriarchal world where arranged marriages are unfailingly dominated by the husband, Paromita’s husband continues to live with her even after she insists that the child she is carrying is not his. Paromita is ruthless and cruel with her loving husband and snatches away the fatherhood that is rightfully his. But should it have taken her 20 long years to wake up? This perhaps could be one more proof that in the world of Paromita-Shonada-Salil-Aheli-Moinak, love exists. Sudeshna and Abhjit do well, minus the incredible gaffes of character and the melodramatic twist of attempted
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