Probably this is the first time in world film history that a film has a little comprising if three international languages. In the title the first two words are French, then the two words are Bengali and the last word is in English. This is the little of the film of debutant director Subhrajeet Mitra. Oh, sorry to mention, the film is in Bengali.
Though it is SESHER KABITA – revisited, there is no Labanya, no Amit and no Sovonlal. Instead there is Brishti, Amit and Jeet. And of course there is no Shilong and no “Path bendhe dilo bandhanheen granthi” either. But there are four Rabindra Sangeet and at the end there is “More laagi korio na shoke” recited in the background by Soumitra Chatterjee.
Rajarshi is a film director, stays either in Paris or London. His last film was awarded Golden Bear in Britain and heroine Elizabeth was awarded as best actress. After long seven years he has come back to Kolkata, his own city, to make an Indo-French movie in Bengali. The title of the film would be MON AMOUR-SESHER KABITA REVISITED. Now possibly you have understood why such a title of the film!!
He narrated his story-line to Brishti and her husband Raaja. Here the story begins after ten years where Tagore has ended his master piece. After ten years suddenly Amit met Labanya and Sovonlal probably somewhere in Europe - what an idea!!!
Now, the audience can understand the basic story-line of the original film. Here Brishti is an ex-fiancé of Rajarshi. But because of “chur-moor” costing two rupees, their relationship broke – believe me. That day Rajarshi hadn’t even two rupees in his pocket to buy “chur-moor” for Brishti – he was so poor!!!! Brishti thought Rajarshi did not love her that much and then she married Jeet, a businessman. Jeet was also a college buddy of Rajarshi. But it was surprising that how Jeet never knew anything about Brishti and Rajarshi’s relationship? Their relation was that much accepted that they went to Shankarpur once. So the basics of the story-line suffers “daal mein kaala” problem.
After being ditched by Brishti, Rajarshi went to U.K and then to Paris and became a film maker of that high caliber. Now after coming back to Kolkata he invites Brishti and Jeet to his apartment where he keeps Rum-Vodka and Whisky for his guests and where Rembrandt hangs in the wall. And when he stays alone he recites John Dunn and Keats and listens to Bach.
The dialogue begins between three characters and they try to investigate the relationships. This is the major part of the film which happens in the drawing room. They discuss, they fight and the cry – the camera shows us the entire discourse almost for two hours, from a top angle, occasionally close-ups in the toilet.
They end of the drawing room drama comes abruptly when the daughter of Brishti and Jeet calls them and they vanished as Sharmila Tagore popped out from the last scene of SEEMABADDHA by Ray.
The multiplexes did not allow screening of this film because they though the film is not for niche audiences – if isn’t niche, what is niche then?