Rituporno Ghosh's latest venture "Abohoman" has failed to break ground. As the title suggests, the plot relates something that is in vogue down the ages. The mentor-minion/ muse rapport is irrespective of time and place. The relation between Girish Ghosh and Nati Binodini has been synchronised to the current context with the added intervention of the successive generation. Aniket Mazumdar, acclaimed to be the maker of films for the genteel society falls in with a lady of plebian class Sikha who is cast in his dream-project "Natibinodini". Now, the Pygmalian practice is on that results in his extra-marital involvement and resultantly tells upon his conjugal life."Sophistication" and " Lack of it" happens to bring about a moral dilemma. In fact, Aniket's wife Srimati has initially detected the promising potentials in the new find. The repeated phone-calls that come during the dining courrse causes dark cloud in the horizon of the Majumdar-family. Aniket appears a nincompoop and exchanges talks in the toilet.No wife under the sun can bear this illicit practice, and not Srimati either. It is Aniket's only young, handsome young son Apratim who finds himself in the line of fire. He sympathises with his mother's plight and tries to fathom the gravity of his father's state. Even he nurses his ailing father with impeccable sincerity. But, he brings his father's sealed-book to light when he gets a write-up published in a popular magazine. The film begins and ends with mourning state of home as Aniket is no more. But the mourning or bereavement has been overcast by personal emotions and sentiments of the characters of the house.
The main drawback of the film is its loosy-goosy pace.Smartness in editing has added perplexity to the audience. Within a wink the sequence shifts from pragmatic to projective thus effecting bridgibility between the two phases. Some dalogues have been used into the bargain. English dialogues delivered by Apratim's wife, specially in a formidable and rude tone to her mother-in law could have been scripted otherwise.
The society of audience that is agog to discover or explore any untold story of one famous film maker, will certainly be purturbed after watching the film. As for acting, Anannya Chatterjee (the Binodini of Aniket) has done brilliant job. She has a long way to go and this will be recorded as one of the best in her entire career. Mamata Sankar, wife of Aniket, has done outstanding job. She is an actress to the very backbone. Dipankar Dey, the protagonist, has done justice, though a better script could have underscored his calibre all the more. Jishu Sengupta, as Dipankar-Mamata's son looks very charming and has done his job To a T.
The film is out and out compounded with "ritupornoism" that draws some section of top-brass to the multiplexes without leaving abiding impression. The film is not for all and sundry, nor for them who are in the dark of Nati Binodini and her times. The film may be destined to earn awards. but the prsent world can hardly shout, "All is well".