Critic Ratings

Tintorettor Jishu review by The Telegraph
Tintorettor Jishu critic rating (The Telegraph): 3.5

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Review of

Tintorettor Jishu  (2008 - Bengali)

Tintorettor Jishu movie review, and Tintorettor Jishu critics rating, comments on Tintorettor Jishu

Tintorettor Jishu cumulative rating: 3.15 out of 53.15/5 (45 users)

Tintorettor Jishu critics rating: 3.5 out of 5 3.5/5 (1 critics)

My Rating

  • Tintorettor Jishu rating: 5 out of 10(rahul sengupta wrote on 15 Dec 2008)

    “Tintoretto Missing”

    Bengalis had begun to lose their identities since the last two decades. As no other prominent and notable Samaritan came whom the Bengali aboriginals could seek as a refuge, “Bangaliana” withered away like a puff off dust. But there are leftovers of great civilizations. Bengalis possess some fossils and shines of their lost glories in works, lives, literature, documents and cinemas. The collection of Feluda remains as one of the treasured possessions in the souls of Bengalis who thrive to strive the pinnacle culture and originality. So Feluda is back. And the super sleuth is back with a bang at the box-office. There is no doubt that this film would start the cash resisters clinging and ringing at the box-office, but has the film been an adequate tribute to the class and essence of the legacy of Bengal? This question shall be extremely difficult to answer. What Sandip Ray denotes on celluloid has been vastly altered… and altered from the original novel. The original novel created by Satyajit Ray in 1983 was heavily dependent on facts, figures, dates and periods. As a novel “Tintorettor Jishu” was not very easy to remake. What was essential was a depiction of the original in a “periodic” pattern. What has been done by Sandip Ray is a transcreation rather than a transformation. The first half of the film is arresting, intriguing and tantalizing. The characters transcreate a diminutive symmetry in parity to Satyajit Ray’s original work. But what makes the film disdainful at times is Sandip Ray’s screenplay. Every avid reader of Feluda is well versed with the fact that as Ray used to be a master screen player of his own films, the stories of Feluda were written in the form of a script. Satyajit Ray had this uncanny knack of writing each story in that fashion from which a screenplay could be easily created. Sandip Ray tries to modernize and update Feluda and in the process betrays the soul of the fable. The film is gripping in the first hour. The situations created by the junior Ray mention praise and deserve kudos, but there are vital implications in the novel which have been arrogantly bypassed while making the film, with something “missing”. The story has a chronology of dates which have been diplomatically bypassed in the film making it less intriguing for the cinematic voyeur. The last half an hour needs special mention, as the maker fails to weave the web of suspense and thrill with some loose and lacksture dialogues, situations and mid-long shots. This is what lets the quality of making doesn’t rise above the bar. Ofcourse there were hindrances and hurdles for which the film was shelved and took over three years to be completed. But in a suspense thriller the audience must be arrested with the celluloid until the very fag end. The action sequences are superficial and Tota Roychoudhury really doesn’t deserve a certificate for his concepts. The long shots taken across the rivers and hills in Uttar Pradesh depict the efficiency of Barun Raha and Sasanka Palit. Editing by Subrata Roy is exemplary at patches. The close shots where the camera holds the profiles of Sabyasachi and Biswajit in a single frame is bold and bewildering. Shots in the Hongkong market taken at close and mid-close are also of repute. But the climax has really been mixed up (may be squandered) in the hope of producing something unique. There was no need (and that’s to be precise) to alter the originality of the novel. The performance of Sabyasachi is good (and some times great). The rest of the cast including Tota, Shilajit, Biswajit Chakraborty and Paran Bandopadhyay give stellar performances but cant rise above the screenplay. There is also a grammatical error in the dialogues when Jatayu (Bibhu Bhattacharya) uses the word “sanguine” to emphasize that he is “sure”. But sadly “sanguine” doesn’t mean “sure”. The music by Sandip Ray is intertwined with the plot and the pathos of the tunes excite the voyeur at times. Bibhu Bhattacharya has tried to divert all the cyncosure towards in with his mimicries, but hopelessly makes a mockery of himself. Parambrata has limited to offer and often remains as a passive predator who is burdening the weight of the frame. The film as a product is undoubtedly “standard” but somehow it fails to connect the missing link between screen and story leaving the audience tottering in a state of psychological “want”. Sandip Ray utilizes his father’s background music (the Feluda Theme) quite efficiently moving us back to the golden days of Bengali heyday. The painting of Christ which has been made by Sagar Bhowmik is standard but hard to believe as a work of the Italian genius Jacobo Tintoretto. The locales of ofcourse are in great parity and symmetry with the story and are practical rather than unnecessarily “eloquent”. Thus children and their parents are advised to go to the theatres to witness Feluda without reading the original novel. Or they may discover and reveal that somehow, somewhere, sometime Tintoretto is “missing”. You have hit the bull’s eye. “missing” from the heart………………

    About the Author:

    rahul sengupta

    About me: unpredictable to the brinkLocation: Kolkata, India

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