Everything in between

Hinging on something very normal and common in our society, marital infidelity, this movie scales new heights of glory, both by way of direction and in the sense of performance. Rituparno’s sensitive handling of the issue, complimented with the performances, both of which I missed in Chokher Bali, showed that Bengali movies are ready to once again take the film world by storm. The movie is set on a monochrome canvas on which marital infidelity across various couples is explored. In this sense the movie does not essentially have a protagonist…but going by screen space, the lead pair is undoubtedly the rich urban couple played convincingly by Konkona and Prosenjeet. Theirs is the first troubled story. Linked to their story, where the man is the betrayer, is the story of Shankar Chakraborty’s family, whose wife shares a clandestine relationship with Prosenjeet. On a completely different level, is the story of Pallavi Chatterjee, Konkona’s friend, who is having an affair with Parambroto. ...

The movies tagline might be a mystical love story...to me it was India's mysticism at its best. Banaras has for so long been the centre of our spirituality and the movie has done its best to capture it. The love story that is actually the director's ploy to get across the essence of Banarash has been kept simple, no undue complications helps the message to come out really strong... the message of Soham, of unity of every atom of the world! At the same time the complications of human emotions are also dealt with...best being Dimple Kapadia, Urmila's screen mother, facing her screen daughter with the one confession that changed the latter's life...the murder of her lover! The manner in which Urmila (Shwetambari) transcends personal grief to attain that spirituality where the self ceases to matter has been well depicted. There is always the fear that the mpvie will go overboard with its spirituality, but the moment comes and goes. Even Naseeruddin's role as God exudes ...