Sarathi Guhawrote on Apr 3 2008 5:14PM
The film centres around Banalata, the lady of an ancient and huge house. The middle aged Banalata is lonely and leads an old fashioned and cloistered life in the house with her servants Prasanna and Malati. Her would be husband was bitten to death by a snake, and she never married after that. A visit from the settlement officer unsettles her with the thought of rising taxes. At this point of time, an offer comes for a film shooting in her house. The director, Dipankar Sengupta visits her, fixes the fuse for her, persuades her to let him use the house and offers a good sum in exchange. The ever hesitating Banalata agrees. The shooting starts and Banalata lends out many props to the crew under the charming influence of Dipankar. Sudeshna, the heroine stays in the house and is visited till late in the night by the hero, Avijit. Malati overhears Sudeshna’s conversation and tells Banalata about a past affair between her and Dipankar. Debashish, Dipankar’s warm and lone humane assistant, tells her of Dipankar’s estranged wife living in Benaras. Banalata finds Dipankar irresistible and builds her fancies on these stories. Her suppressed instincts are revealed in her dreams. She even cooks specially for Dipankar’s birthday and offers to forgo the rent to make up for the loss of money incurred due to a stop in shooting. Dipankar exploits her emotionally, as he does Sudeshna, for the sake of his film. When an actor fails to turn up, Dipankar even persuades Banalata to do a cameo where she dresses up as a married woman. The shooting party leaves and the inmates of the house wait for news of the film. Banalata writes repeatedly to Dipankar who doesn’t send any reply. At last Debashish writes to send her film passes and also informs that her role in the film has been edited as it was too lengthy. A shattered Banalata withdraws again into the cacoon of her house.