Baishe Srabon Delves " Aro Gobhire".
MAIN PLOT- Equations
1. Probir Roy Chowdhury, ( Prosenjit) an ego-maniac cop, but prodigy X System ==Suspension from the force
2.Avijit ( Parambroto),a police officer assigned with the mysterious " Stone-Man Murders" + Senior cop Srivastrab, who counsels to reinstate the suspended Prabir. == Willy-nilly, Prabir, accompanied by Avijit, set about.
1.Nibaran Chakroverty ( Goutam Ghosh), a frustrated dreg of the " Hungry Generation Movements" of the 60s loses mental eqilibrium == Fakes to tele-communicate with " Rabindranath" and darts out in the dark to air out his unacknowledged poetic faculty.
2. Amrita ( Raima Sen) a partner of the live relationship with Avijit now rubs shoulders with his colleague (Abir Chatterjee)==Comes closer to his new friend and draws further from Avijit.
Both the main-plot and the sub-plot are, by and by, interwoven, and it is in the pen-ultimate sequence the mystery is apparently unveiled with the fabricated suicide of the insane poet Nibaran, who is assumed to be the assailant of all the victims, the pavement dwellers and a prostitute. Here, one may have a relieved disposition that the deranged must have been retributive to the society for the poet in him buried unsung. So he would be out to ward off " prithivir janjal"( dirts of the world). But the twist is in the culminating sequence.
Bengali film-dom has, perhaps, been in quest of a thriller as such. Srijeet Mukherjee has done justice to it.The entire movie has been encapsuled with a sugar-coat of poetry. The killer, having performed his act of gore leaves a note of quotes from famous pieces of Bengali poetry, as clues and purposefully to obfuscate the prototyped investigating system. The investigation reveals that each case of brutal killing is committed on the day of death of an eminent Bengali poet. They are :- 22 October ( Jibanananda Dash), 11 December (Binoy Majumdar), 23 March ( Shakti Chattopadhya), 29 June ( Michael Madhusudan Dutt), 29 August ( Kazi Nazrul Islam) and 7 August ( Rabindra nath Tagore). In case, there is no murder on the Kazi Nazrul's death- day, ( that falls in Bengali Bhadra) there is no room of contention, else, 22 Shraban ( 7 May) when the ultimate tragedy with the mystery divulged may prove moot, if not blunder.
In terms of acting, Prasenjeet has come out with his best. A foul-mouthed, arrogant,self-possessed , egoist, lonely and indifferent to worldly affairs, he has proved what he can do. Goutam Ghosh changing his normal position behind the camera to find himself in front of the lenses has proved his ambidexterity. Parambroto has displayed his potentials, and in some scenes he is brilliant.
Soumik Haldar's camera speaks what the director conceives of.Music is superb and consort with situations.Srijit Mukherjee has to shoulder an uphill task, as our audiences tend to experience more and more from him. The film is more poetic than sanguinary. It begins with the quote from Jibanananda Dash and ends with a song with symbolic " Shraboner Dhara" of Baishe Sraban.
But, almost every theater has experienced one thing as vivid, whenever there is a filthy slang in the dialogues, it is reacted with boistering cheers.Maybe, they are the youth members of the society. Does this rapture mean,they are agog to have their versions felt , echoed and heard on the silver-screen ? It is not that the speakers of these slang are the riff-raff of the society. They are well-educated men with high profile like the roles played by Prosenjeet, Parambrata and even Goutam Ghosh. If the director tends to prove that such argot, cant and jargon have becomethe common tongue of all. irrespective of social classes, then multiplex-hoppers and ordinary-theater goers have no virtual differences as far as cultural exercies are concerned.