How can a movie, that speaks of human relationships, no matter, how intricate and intransigent they prove to be, can tarnish the cultural paramountcy of Nandan, meant for quality exhibitions ?? Arekti Premer Golpo, as the very title suggests, brings home the quintessence of" just another love-story" brushed aside by the convention. The film has nothing abusive nor obscene, but has highlighted the relationship between two persons, one of whom finds absolute respite when clung fast to the robust breast of his partner. Lawfully decriminalized but customarily condemned,gay-relationship has never been a virgin territory. If Bhandarkar's " Page Three" that has boldly shown homosexuality and child-abuse, is accepted for public-screening at the particular auditorium without losing its "nandanikata" or aesthetics, there lies little room in rejecting " Arekti Premer Galpo", crafted brilliantly by Kaushik Ganguly and Rituparno Ghosh, who have authenticated the iconoclastic approach by the support of Chapal Bhaduri, a legendary actor of yesteryears, who would act in female roles exclusively in opera.
Abhirup Sen takes an enterprise to make a docu-feature on the life of Chapal Bhaduri. He lives with Basudeb, who happens to be the cinematographer. They share an unacknowledged sexual relationship, though Basu is married, and bi-sexual by nature. Abhiroop sets forth filming the spills and thrills that Chapal has been through his hey-days.But the project falls flat, as the convention, smelling something obscene in it strongly take exception to it that compels the makers to look for some remote locale. Uday, a France-based photographer offers them his ancestral house at Hetampur in Birbhum to shoot the film.The shots which, by and large, displays Chapal's unlicensed intimate relationships with Kumarbabu ( Basu) and Tushar ( Uday), agitates the local people. Thus, here too the project too suffers jeopardy. Besides, the film within film, the film without the film is all the more filmic. Rani, the wife of Basu lands up. Now the real confrontation comes about.The visionary castle within which Abhiroop and Basu encase their cozy warmth, suffers crevice unrepairable for them. Abhiroop is cut to the quick, though Basu, in the final scene breaks with his wild promises that he will revive his relationship with his sweet-heart.
The film is by, of and for Rituparno Ghosh, who has acted Abhiroop Sen and enacted the role of Chapal Bhaduri. He has emptied his emotions through and through. Those who have gone only to watch Rituparo's effeminate traits, must have overlooked the outstanding exposures of delicate emotions, complex psychological attributions,subtle body languages that the character calls for and a dynamic bursts of protestations. Fallaciously, we tend to watch the Rituparno as we know him.But, we ought to examine the Rituparno as the actor's potentials, hitherto unknown . A good director is not essentially a good performer. Most of the directors tend to give vent to their convictions through an actor. They do not dare to do for themselves. Rituparno has his convictions too. and he has ventilated them by self-portraiture. Whether he is transgendered, has nothing to do with this film. In a conversation with the Old Chapal Bhaduri, Ritu opins his identity that he is neither mankind, nor womankind but the third kind.The film has to be watched, not from the biological point of view, but psychological. One does not have to be trans-sexualised. There is a " Radha" in every Vaisnaba. That is why,he or she can urge and run for " Krishna". But, if he is a " Krishna" in heart, after whom he or she can run ? Rituparno/ Abhiroop is an amalgam of both. Physically " Krishna", psychologically " Radha". This is the cause of his being a foil in amorous tie. This is why,the song sounds a soul's cry :-" BANAMALI TUMI, PARO JANOME HOIYO RADHA".