While watching "Bedroom", I had this feeling - probably Mainak Bhowmick aspires to become Rituparno Ghosh. Aspirations should fly high, but not reach a position where your work enters severe criticism and you are ultimately disregarded. The same goes with Bhowmick. It's no secret that Ghosh is arguably the only director in Tollywood who can handle a multitude of short stories simultaneously and bind them into a concrete tail by slender yet strong threads of relationship. Mainak tries to emulate him, no doubt, but too much of an imitation followed by misuse of time and viewer's interest has caused his "intellectual cinema" to be nothing less than a hotchpotch.
The film is one of the quintessential relationship dramas that today define the average urban modern story. Lies, betrayals, insult, etc. are all handled superficially. The story does not have its cinematic depth and the script is volumnous simply because of several exaggerations in unimportant places. Too long dialogue scenes will induce you to fall sleepy and even, at times, the torture become so unbearable that you find it'll be better if you concentrate on your own work.
The story revolves around the lives of Rudranil, who is an actor, Rahul, an aspiring actor, Tanushree, a learner of acting, Abir, a corporate officer, Paoli, a bored housewife, and Parno, a design specialist. They are so unhappy with each other that they indulge in extra-relationships and the story takes on turns.
Basically, it's a film of flaws and one of those that typically represent the upper class in all its glory, attitude and flaunting. Well, today parallel cinema means this - let's not make too much fuss over it! That's why an angered Rahul breaks all his glass utensils, just to show off his rage, his disgust, and probably, how much wealth he possesses.
Sex and beer - these today are hearts of arthouse films. It's as if wine is essential for your life and so are the sights of long scenes of sex. If the story had given more in these parts instead of portraying only sex and showing only wine, it'd have been better, perhaps.
Okay, and when do you see a superstar walking on the road with his girlfriend without people taking even a glimpse of him? Rudranil walks as if he is just a man, and that directly contradicts the identity of his character in the story.
The dialogues mostly are so vague that you would not get any knowledge about the subject they are discussing. And indirectly, Mainak Bhowmick expresses his irritation and anger against commercial Bengali cinema. He feels it's really great to excite public opinion and start a movement against mainstream cinema but he should remember it's the pillar of income from mainstream films that has strongly supported his cinema. And moreover, it's no myth that we've got several commercial films much, much better than many arthouse films. What about Ley Chakka and Dui Prithibi?
Enough dwelling on the script. Now for the performances. That's where the film stands as it obtains maximum support from splendid performances by all of the cast. Everyone has performed brilliantly and it's futile calling them by names and acknowledging their contribution to cinema.
I would give it 0 for technology. The camera bounces up and down and is never quite still. Good gracious! You can suddenly see Abir's chin after a quick fleeting glance of his face.
The idea may be good, performances may be great but what about the music? Mayabono Biharini by Somlata Acharya is delightful. Arekta Din by Shreya Ghoshal is charming. But Anupam and Rupam have failed to live up their marks. So an average marking for the songs would be adequate, I presume.
Mainak needs one good advice: Please make quality cinema. If you can't, don't incorporate ideas and try to make cinematic hotchpotches in the name of parallel cinema. Your films contain minimum directorial abilities and that is certainly not wanted in case of parallel cinema. Artistically rich cinema that will make you think deep - like Ichche. Henceforth, avoid loopy scripts and provide viewers with some entertainment. My! All the actors and actresses have been forbidden to smile, perhaps! Why do you think they should always be sorrowful? Can't they find joy? Is that happiness to be found only in bottles of wine?
I do not know the answer. Maybe Mainak Bhowmick does.