The black and white companion

The other day I had gone to Mondy’s in South Bombay, when I saw that Regal was playing ‘Dosar’ (Bengali movie) in the night show. So I thought I might catch it after a couple of beers at Mondy’s. And I did so. It has been a while since I have seen a Bong movie. I quite liked it and then googled a lot for a Dosar review. Could find only one at mouthshut. So I thought I would express my opinions on the movie.

Well, ‘Dosar’ (which means the companion) is a Rituparno movie. So guys, expect some of the stereotypes, female-oriented, mostly-indoors, upper class Bengali society, smoking male characters, infidelity, well-shot and of course sexual innuendos. But what’s unique about this one is that it’s shot in Black &White. Here is what Ritu says in an interview with Telegraph on the lack of color in the movie :

“I didn’t find the need to use colour in this film. In fact, I didn’t think I needed to use colour for some of my other films too. The use of black and white in Dosar is not a gimmick.”

Well, tough to say really whether it was a marketing gimmick or a poignant artistic need. It’s anybody’s guess really. But whatever said and done, the feeling of watching a 21^st century B & W film is amazing. Laced with cleverly done interiors and brilliant cinematography the look of Dosar is really international.

The other technical aspect of the movie that catches your attention is the background score, composed by a group known as ‘21 grams’. Guess what, they use bagpipes in the movie (kind of like Braveheart). Now that’s something unique, bagpipes in a desi movie. But again it only advances the mystic feel of the whole movie.

Anyway, the story of the movie is really simple. Kaushik (Prasenjit) is the protagonist (or antagonist) who goes to a resort to spend a weekend with his arm candy. While returning he faces a near fatal accident. Although he survives with serious injuries, Mita – the love interest (played by Chandrayee Ghosh) dies on the spot. The whole film deals with the post accident trauma faced by Kaberi (Konkona) , Kaushik’s wife and Kaushik himself. She is torn apart in the dilemma of feeling for her battered husband and the same time angered by his infidelity. So much so that she refuses to sign the hospital papers and even contemplates the idea of consulting divorce lawyers while her husband battles for life.

Kaushik is also caught in the middle. Prasenjit chips in with a brilliant performance as a man grieved by the loss of a loved one and the trust of his wife. But the real star of the movie is Konkona. She plays the role of the undecided wife to perfection, probably her best performance till date. Watch out for the scene when she says ‘Mita is spot dead’ with a straight face to Prasenjit, when everyone else is trying to avoid the topic. She beautifully portrays the vulnerability within her while maintaining a stern, almost feminist exterior.

There is also a subplot featuring another extra marital relationship between Kaberi’s friends played by Pallabi Chatterjee and Parambrata. It intermingles with the main plot and provides an opportunity for the director to portray Kaberi’s opinion on the subject that has a predictable shift.

Ritu’s movies had always had that element of sensuousness. Dosar takes it to a different level. There are a few explicit sex sequences, one with a sensual poetry in the background, one with an indifferent prostitute (this one was gross), and another one involving Pallabi and Parambrata. Some people apparently where shocked by these depictions and would rather not have them in the movie. I am generally ok with them. Infidelity is an adult subject and has to be portrayed in all its colors (oops, B&W).

The question is then what do I make of the movie. Well, clearly the movie does not break any grounds, nor does set any standards for cinematic excellence, but certainly ranks up there with Ritu’s best. So I definitely recommend this movie.

I was also surprised to see the large turn out in a Mumbai theatre (certainly not a Bengali city). This really proves that good cinema has its own audience and transcends language barriers. Ritu’s film making provides hope for admirers of good cinema. His movies bring in audience which certainly keeps the producers interested in investing in good movies. Hope to see Planman producing more good movies in future.