Dec 27, 2004 05:50 PM
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(Updated Jan 04, 2005 01:03 PM)
Rituparno Ghosh may have become well-known outside Bengal for the Aishwarya Rai starrer Chokher Bali (Sand of the eye), but he is known in Bengal best for his beautiful showcasing of human emotions, especially female.
He has struck a chord with each of his films right from his second film Unishe April (19th April), Dahan (Crossfire), Asukh (Malaise), Utsab (The Festival), Bariwali (The Lady of the House), Titli (The First Monsoon Day) and Shubho Muhurat (Auspicious moment).
It was only in Chokher Bali that he deviated from his usual self and found few takers in his core fan base.
But they must relish his return with Raincoat.
The plot, is one of the assets of this movie. A simple movie that is so moving in some sequences that would make us wonder if the actors are acting at all or just enacting scenes from their own life. Everyone of them is so wonderful. This is where the director wields his masterful wand. And the actors just fall into his spell.
Debojyoti Mishra, a well-known Bengali composer has composed the tunes, and the result has been gems like Mathura Nagarpati, Piya Tora Kaisa Abhimaan, etc..
The film is basically the interplay of emotions (or non-emotions, if you might like to call it...), is the strength of the movie. The core strength lies in the Ajay Devgan-Aishwarya Rai verbal duel that ensues after they meet 6 long years later. The handling of such scenes is so delectable and natural, that it does not cover you up in a flood of emotions that you feel watching a YashRaj factory mushy movie.
But you can actually relate to the scenes. It's like watching a couple of people in your own neighbourhood.
There are some scenes that stand out:
Ajay Devgan crying in the bathroom, and Mouli Ganguly standing outside and hearing it.
Ajay Devgan meeting Aishwarya Rai after 6 years on a rainy afternoon.
Aishwarya Rai showing Ajay Devgan, that she still has a flawless face, thus ensuring the goodness of her husband.
Aishwarya Rai's fear of flying and it's reason.
Ajay Devgan's flirtation with his secretary.
Aishwarya Rai's reason for not marrying Ajay, and her penchant for matching colors in all things. And Ajay coming to her and insisting her to go and select a car of her choice.
Annu Kapoor letting the cat out of the bag.
Ajay Devgan cleaning his hands with the bedsheet and his intention in doing so.
Mouli Ganguly's comment on whether Aishwarya would still be thinking about Ajay or not.
And finally, the end. Abrupt and without any drama. Very Rituparno-like.
The acting is simply flawless. For once, Aishwarya Rai is not the Miss World and the all ethreal beauty. She is simply a good-looking Bihari girl who comes to Kolkata from the hamlet of Bhagalpur after marriage. The performance is her best till date and should put her in strong contention for the National Award and other filmy awards next year. Her performance is simply the heart of the film.
Ajay Devgan is in his element. Truly mesmerising and all consuming. He seems to chew away the role as the jobless Bihari in the big city. One really begins to wonder if this was the same Ajay from Phool Aur Kaante, Jigar, etc.. This guy has really evolved into a director's dream.
Surekha Sikri is her usual self as Ajay's mother. Always effortless.
Mouli Ganguly makes her debut on the Bollywood screen as Ajay's friend's wife. And she also does it effortlessly. All thumbs up to her.
Sameer Dharmadhikari as Ajay's friend is also quite good and natural.
Finally, Annu Kapoor's performance leaves you wondering why this powerful actor is so under-utilised, and is left parodying Antaksharis on the idiot box. He is at his elemental best as Ash's landlord.
Kudos to Rituparno for extracting such performances and retelling a story so well-known to us, in a compelling way.
As he would surely like to say: Bombay, here I come!!
