Suman Ghosh’s Dwando has been one of the most exhilarating cinematic travelogues seen in post modern cinematic history. Whether it’s the neo-dark mystic sequence during the opening credits, or the prolonged climax sequence between Soumitra Chatterjee & Ananya, “Dwando” stamps itself as the connosieurre’s delight accompanied by the magnamous performance of Soumitra Chatterjee takes the film to the next attitude. Every technical aspect of this film has been caressed with utmost care. The make up of the both right from their heart. Sujoy Dutta Roy’s editing is adequate, smooth. Art work by Tanmoy Chakraborty in intelligent, mystic and ethereal if not outstanding. The use of Vincent Van Gogh’s famous painting “Starry Sky” in the party sequence or the usage of Leonardo Da Vinci’s classic “Anatomy” painting in the chamber of the melancholy neuro surgeon makes every shot an artist’s delight. Suman Ghosh’s dialogues have been absolutely accordance with Soumitra’s character making it look so arresting, blood and flesh. With the mix & match music of Mayookh Bhowmik and Rupam Islam’s opening number, “Dwando” emphasizes as a technical journey to remember. It appears that Suman Ghosh has been highly (very high in fact) influenced by schoolings of western greats like Robert Bresson & Luis Bunnel. There are things of influence from other film-noir’s as well, but the entire camera treatment by Ghosh and Barun Mukherjee remembers us of the both breaking methods of Bresson. Throughout the film the camera disagrees to move on almost every circumstance making every frame bold and bolder. As the frame remains static along with the characters, one easily withers back to remember Bresson’s own techniques in installing a camera to squeeze out the ultimate reality. Mukherjee’s camera work has been brilliant, but certainly can’t be labeled as an invention of his own.
While “Dwando’s” USP is its foreign inclination, its conflict remains in this very point. “Dwando” fails as a script. Disdainfully. Suman Ghosh weaves a plot against high class urban Indians which looks and appears as a hotchpotch of east-west dilemmas. It was a mystery why so much English words were incorporated amidst the dialogues. Why? To stamp what? With the treatment remaining Socialist and experimentalist in character, the philosophy turns out to be capitalist and extremely “class oriented”. Why? Herein comes words of Luis Bunnel. The great said that, “may be there are 2 or 3 bad films which I have made (of a total of 32). But even then I can undoubtedly say that philosophically and metaphorically they were honest and at par with the social destruction.” Thus “Dwando” uses the socialist school of film making at its technique, but at its heart remains confined in capitalism. The “Dwando” of “Dwando” lies in here.
The performances of all the character remains classy but with Soumitra Chatterjee “Dwando” would have been blasphemy to watch.
Please do not torment the team by exaggerating that it’s a psychological lift up from Kieslowsky’s revolutionary masterpiece DECALOGUE