Plagiarizing. Agonizing. Gibberish. Out Of The World. These are the 4 major pillars, upon which the crux of Swapan Saha’s “Chawa Pawa” is constructed. When a motion picture is shot with such immaculate negligence, it’s obvious that not a sole filmy soul would dream of experiencing such an official dud. It’s no mystery that kingpin Prosenjit is the father and mentor of this unique “Out of The World” genre in the history of Bangla Cinema. An extremely wary notion needs to be evaluated at this context. Researchers and film students often refer these forms of films as “Commercial Stuff”, in comparison to the “Parallel and Art” genre of films. This notion is not only baseless, but is actually flummerous. “Commercial Films” were made at Tollygunge only till the mid 1980s’. A classic example of an eternal commercial venture is “Shaptapadi”. The current crop of films are not “Commercial”, leave alone “Aesthetic or Artistic”. They fall in a maiden genre and that’s “Out of The World”. Individuals and bashed up characters who can’t seek refuge any where in this despot civil society, plunge into the dark abyss of cynical pleasure and make sure this ventures become economically acceptable. Infact, it may be weighed that it is not immoral if a film as a work of creativity aspires to be commercially viable. It may even turn out to become a loosely scripted “potboiler” in some remote instances, but can it be forgiven if it desperately cheats the masses by becoming “Out of The World” fixtures? No is the answer. But creative satisfaction and moral obligation have withered away like a puff of dust enough to make both Asit Sen and Satyajit Ray grudge in their graves.
There is nothing to say about the making of “Chawa Pawa”. Swapan Saha’s direction, associated with the camerawork, editing and screenplay, are all “irresponsible”. Even a mundane movie goer would discover rationality and reasoning screwed up somewhere else while experiencing this movie. The story by N. K Salil along with his dialogues are bizarre. One wonders “how do they make such great men now a days”, while viewing this psychological predator. Ashok Bhadra has nevertheless composed some bearable numbers, with “Sudhu Cheye Theko Na…, Keno Kichu Bolo Na…” (sung by Udit Narayan) being the queen among the ants. Don’t inquire about the performances. Barring Prosenjit, the script doesn’t allow the others to withhold sanity.