“Wings of Destiny”
The “silence” embroidered with in the frames depicting the unending long shots reminds us of the “silence” which Ingmar Bergman maneuvered in his everlasting creation of pain, THE SILENCE. Nevertheless we know that Goutam Sen’s silence is vastly different from Bergman’s silence, even though they have an unspoken identification at a minute juncture. “Pakhi” is about eternity of time, and what living beings do after being caught in this time wrap. Though there have been films in the western hemisphere flaunting such themes, (films by Bergman, Antonioni Trauffaut… in different dimensions) in the Indian circuit films of this genre have not been exclusively familiar or popular. Goutam Sen has plunged into the deep psychological undercurrents of the human character and how these undercurrents terminate into the eternity of time. The director weaves the screenplay in such a manner where we discover that human beings are like migratory birds in lives of each other. Just as the birds flock to a destination, season after season, human beings flock towards each other and part ways proving everything is temporary in the vestures of eternity. The idea is not unique, though innovative and the treatment at times becomes highly influenced by western greats. The onscreen performances have been apt. While Badshah Moitra portrays the pivotal character, others like Soumitra Chatterjee, Sabyasachi Chakraborty, Debasree Roy and Krishna Kishore Mukherjee deliver quality performances. This philosophy has been a much cultivated celluloid subject. But nevertheless Goutam Sen’s endeavour has been aggrandized and honest. Soumitra Khara’s editing appears to be highly inspired from that of master editor Oscar Rosander’s works (The Seventh Seal). Pilu Bhattacharya’s music haunts the seeker at places but not perpetually. The song “Kandiya Akul Hoilam Bhaba Nadir Pare…” carries the essence of “Pakhi”. Some sequences like a lad standing along a vast open frame with blue, yellow and white balloons flying across the horizon gives a hope that cinematographers like Asim Basu have been trying hard to master the intricacies of film techniques on a more serious level. But nevertheless many shots bear resemblance to the works of Swedish maestro Sven Nykvist (Bergman’s Cameraman). “Pakhi” goes towards the fulfillment of film making, defining each character and the philosophy of eternal destiny. Ignoring the loop holes, we may conjure upon the fact that somewhere somehow this subject has been evaluated before.