A FEUDAL CONCEPT
The crux of this celluloid depiction is “FEUDAL” in concept and narration. Raktamukhi Neela is a muder “mystery”. The term “mystery” is something which requires attention. The “mystery” for me remains not the plot but actually why this project was materialized. The cast comprising of seasoned actors like Dipankar Dey, Dolon Roy, June Maliyah, Bhaskar Bandopadhyay and Sabyasachi Chakraborty do nothing but move around like mechanized entities. It even fails to denote “time”. In a sequence the character of Raju Roy (Raja Chattopadhyay playing the character) reminiscences an incident, which occurred 4 years ago, but when the sequence is shown in the flash back we find that ringtone of his mobile has the song “dil na diya” from KRRISH, which itself released in 2006! There is more. Much more to assess. The digitally shot film is an absolute disaster from the technical point of view. The editing by Tapas Chakraborty makes me believe that he has touched the scissor for the maiden time. What the film faunts may be termed as anything. But there are definitely some serious decisive mistakes regarding editing. The frames are haphazard and have no synchronization which makes the film really painfully to watch. The screenplay is slow. For a murder mystery to be successful, one needs to be at least courageous and energetic while constructing the screenplay. That does not happen even at a distance. Debjoy Banerjee defines a new sub-format, which may be defined as anything, but obviously not coherent screenplay. The story by Durlabh Roy, the music (directly stolen from the track of GUPT) and Debraj Sinha’s direction, all make the film a nightmare to be remembered for ages. Is Raktamukhi Neela a film? May be it is a film in reality. But in conscience it’s a collage of broken montage images scattered all over the frame. There is also another point. How come a film depicting extra-marital liasons get a “universal” tag? Perhaps the god-fathers of the censor board have realized that sooner then later it’s wise to show children the dark and darkest facets of human nature. What a delirious dichotomy! When the nation is collapsing from the burden of inhuman industrials and monstrous political structure, such unsubstantial films remain of no use and reference for our down trodden mass.