Rituparna Ghosh is basically belongs to the "Main stream cinema". Filming the novel "Chokher Bali" in main stream was hard nut to crack. Rituparna was in a dilemma as the main-stream could not be reatained unless the story is displaced from its original stand and on the other hand literary-work can hardly be nullified. Consequently, in such quandary, the film happens to become a feast to the camera, a panorama of camera-angles, light and shade and colours . The director has hardly strained his nerves with the filmic components and the genesis of the unique conviction lying in the novel. Even he has not emphasised on Binodini's being intimate with Mahendra in a literary course. The red colour of the shawal that Binodini is wearing while sleeping can not become a filmic-language. It is useless, therefore, to trace similarities and disimilarities, comparison and counter-comparison between Tagore's "Chokher Bali" and Rituparna's. Rituparna must have seen "Charulata" but has not adequately convinced himself that Charu and Binodini are not the same. Binodini's swinging in the garden, motivatedly imitation of "Charulata" stands ridiculous. This "Binodini" is not of Tagore, and Rituparna does not like to leave her in the story. When the quintessence of the story comes to light through the letter of Binodini in the form of the collage of love and patriotic song, the audiences who have retired their seats hear it. The situation disagrees with Tagore's "Chokher Bali" of 1902. To give a larger lease of time effect, the director has muddled up between 1902 and 1905. In the novel there is no reference to the Partition Of Bengal . Rituparna seems to tide over the time barrier.
Unfortunately, the characters in the film get melted in the story and cannot gain larger bearth. In the film the director has attemted to make Binodini richer than she actually is. The all-time bare bodied Binodini while putting on the fashionable attires might have added a dimension. The display of bare-backed Binodini could have been a symbolic and meaningful interpretation. Charulata's viewing through bi-noculors comes in this film in the last. To discern the world at large comes to Binodini rather suddenly without correlative objectives. A wanderlust seems to prey upon her when she sees through.the binoculars the "ghat", "physical exercises""Death".. The change is abrupt and sudden. Where this Binodini used to be in the company of Mahendra--Behari- Rajlaxmi-Asha ?