The screenplay is the trump card, Atanu Ghosh's Aaro Ek Prithibi will shake the brain. If Atanu Ghosh's last three films Angshumaner Chhobi, Mayurakshi and Binisutoy are a trilogy, the benchmark of his cinematography has been created for the audience, it must be said that Atanu Ghosh's latest film Aaro Ek Prithibi has moved away from it.
The narrative of this film is much smoother than his previous films and claims to be appealing to the general audience. It is not a compromise, but his film style has changed the subject and the story.
How the dialogues of his film have a taste of literature, and the beautiful style of the film is woven into the context of the film, and the audience can feel the lack of it in this film. The content of the film determines the form of the film. Atanu Ghosh has done the same here.
A young Bengali girl Pratiksha (Tasnia Farin) who has just arrived in the context of the city of London weaves the screenplay in the style of a suspense thriller about not only the "homemade of dreams, the house made of dreams", but also the helpless situation she faces because she does not get the groom of her dreams.
Of course, in the middle of the unsuspecting husband's return comes Srikanta Munshi (Kaushik Ganguly), a middle-aged violin-playing bohemian patriarch, with a young Londoner named Ayesha (Anindita Bose) posing as a girlfriend, who herself is forced to live in a "terrible" environment.
Srikanta stood by Pratiksha in the role of a loving father. He also provided temporary shelter, employment and guaranteed shelter. But this man left the country with the dream of conquering the world, not to escape from life, but to see life.
He escaped to London by defrauding the Puja funds. His life story has also taken a parallel place in the screenplay with waiting.
Now he takes refuge in an abandoned small launch in the Thames canal (how he got hold of it is unknown!), as Ayesha's past remains unclear, or her revolver training from her "thug" father!
But Atanu Ghosh has brought some beautiful and ugly moments from the past life of waiting in the flashback! Another dark side of Atanu Ghosh's film is why the groom-in-waiting "disappeared", and how he came back.
This episode of the film is fortunately very short! Atanu Ghosh's screenplay focuses on homeless people facing dangerous situations in foreign countries.
So Appu Prabhakar's camera is very fast in this film. His frames and choreography are quite dramatic, not following literature or poetry, maybe he didn't want it that way.
But small characters like the taxi driver of Ethiopia or the young man of Pakistan also convey the gloomy life with light sketches. These are the special touches of Atanu Ghosh in the film, such as the elderly black liberal landlady!
But the heart of the film is in the theme song! The song composed by Anirban Mukherjee serves as the prelude and interlude throughout the film.
The beautiful song sung by Porshia Sen in the tune of Debojyoti Mishra, however, almost takes the appearance of conscience, but the cinematic value of the film is a little bit crazy!
It can't be that an artist will not act in his film with heart. Not here either. Tasnia Farin, the new face of Neighboring Country, has done the role of waiting in fear, and despair, and also standing upright in adverse times with ease.
Just like the first learned English poem. Anindita Bose has given a beautiful match to the physical smartness of Ayesha's character.
And what can be said about Kaushik Ganguly? With the naturalness of Srikanta's dangerous survival, he evinces his lost baby niece Noori's love for waiting with a few silent moments!
The unnamed actress who plays the role of the elderly landlady is also quite sincere and relaxed. In comparison, Saheb Bhattacharjee as Aritra did not get much space in the screenplay, but he made good use of what he got.
To be honest, this film brought the popular director Atanu Ghosh front of us in an unfamiliar light. I was waiting to see if that unknown light is diffused at all or how much.