(Reviewed after watching in theatre in the 1st week of release)
South Indian remakes which were once the staple diet for Tollywood, have gradually lost their appeal. But if presented in the right way, then even now a remake can draw the audiences; be it Kolkata or beyond, multiplex or single-screen. That's what STJ has proved this Puja!
Fed up with the same old brainless action-dramas, the viewers were thirsting for something new. And novelty was something which they got in abundance from this film. First of all the star-cast. Getting to see Dev and Sohom together was definitely a big attraction which ensured an excellent opening for the film. And that the audiences don't return disappointed was ensured by the intensely emotional story-line. Indeed, it's emotional quotient is the biggest asset for the movie as it connects with the audiences and ensures that it lingers on in our mind; unlike other contemporary 'hits' which hardly create any impression.
The other big factor which helped the film connect all over Bengal was its distinct 'Bangaliana'. Kudos to director Birsa Dasgupta for draining out all the South Indian flavour from the script and instead masterfully weave in a wonderful montage of Bengal into various fragments of the film. For instance, the Sohom-Srabonti track is beautifully shot in the picturesque locales of Darjeeling while the Dev-Mimi part is placed in vintage North Kolkata along with Rajarhat. And the actual scene of all the narrative is a modern-luxurious housing colony in the posh area of Kasba, South Kolkata! It's also helped significantly that the film has been shot in real locations unlike most directors who prefer the artificial settings of the Ramoji Film City. It won't be an overstatement to say that after Raj Chakraborty Tollywood has finally found a mainstream director with genuine film- making skills.
Dev is initially unconvincing as the drunkard husband, but gradually gets into his groove. In fact he's at his 'ceeti-taali' best in his track with Mimi. Srabonti is good while Mimi is effervescent. Sohom gets limited screen-time but makes a bigger impression than his lead roles in 'Jamai 420' and 'Katmundu'. In fact, he even overshadows Dev in the film's only scene featuring the two stars together. Arindam Sil is a welcome change with his graceful portrayal while Supriyo Dutta reiterates his caliber as a powerhouse performer.
Most of the songs are refreshing barring 'Emotional Saiyyan' which has been used as just a promotional gimmick for all Dev-fans but cleverly excluded from the film keeping in mind the severe distaste of the multiplex audiences for such 'dream' sequences which frequently pop up to obstruct the flow of the narrative.
After 'Golpo Holeo Sotti' (2014) Birsa has once again succeeded in bridging the urban-rural divide which is the only way Bengali cinema can survive in the age of shrinking theatrical market. Under such a scenario STJ certainly lends out hope for a brighter future which ultimately, is the biggest Puja gift for all lovers of Bengali cinema...
South Indian remakes which were once the staple diet for Tollywood, have gradually lost their appeal. But if presented in the right way, then even now a remake can draw the audiences; be it Kolkata or beyond, multiplex or single-screen. That's what STJ has proved this Puja!
Fed up with the same old brainless action-dramas, the viewers were thirsting for something new. And novelty was something which they got in abundance from this film. First of all the star-cast. Getting to see Dev and Sohom together was definitely a big attraction which ensured an excellent opening for the film. And that the audiences don't return disappointed was ensured by the intensely emotional story-line. Indeed, it's emotional quotient is the biggest asset for the movie as it connects with the audiences and ensures that it lingers on in our mind; unlike other contemporary 'hits' which hardly create any impression.
The other big factor which helped the film connect all over Bengal was its distinct 'Bangaliana'. Kudos to director Birsa Dasgupta for draining out all the South Indian flavour from the script and instead masterfully weave in a wonderful montage of Bengal into various fragments of the film. For instance, the Sohom-Srabonti track is beautifully shot in the picturesque locales of Darjeeling while the Dev-Mimi part is placed in vintage North Kolkata along with Rajarhat. And the actual scene of all the narrative is a modern-luxurious housing colony in the posh area of Kasba, South Kolkata! It's also helped significantly that the film has been shot in real locations unlike most directors who prefer the artificial settings of the Ramoji Film City. It won't be an overstatement to say that after Raj Chakraborty Tollywood has finally found a mainstream director with genuine film- making skills.
Dev is initially unconvincing as the drunkard husband, but gradually gets into his groove. In fact he's at his 'ceeti-taali' best in his track with Mimi. Srabonti is good while Mimi is effervescent. Sohom gets limited screen-time but makes a bigger impression than his lead roles in 'Jamai 420' and 'Katmundu'. In fact, he even overshadows Dev in the film's only scene featuring the two stars together. Arindam Sil is a welcome change with his graceful portrayal while Supriyo Dutta reiterates his caliber as a powerhouse performer.
Most of the songs are refreshing barring 'Emotional Saiyyan' which has been used as just a promotional gimmick for all Dev-fans but cleverly excluded from the film keeping in mind the severe distaste of the multiplex audiences for such 'dream' sequences which frequently pop up to obstruct the flow of the narrative.
After 'Golpo Holeo Sotti' (2014) Birsa has once again succeeded in bridging the urban-rural divide which is the only way Bengali cinema can survive in the age of shrinking theatrical market. Under such a scenario STJ certainly lends out hope for a brighter future which ultimately, is the biggest Puja gift for all lovers of Bengali cinema...
