The precisely substantial screenplay and well-sculpted characterization have made the plot new to the viewers as scenes
seem unpredictable, and thereby the film raises the suspense: what’s next!.
“And thus, with a kiss, I die” is not unknown to the fans of Romeo and Juliet. Director Badrul Anam Saud has smartly fulfilled the cliché demand of Bangladeshi film viewers. Coming up with a Petrarchan love-story in the recently released film Gohin Baluchor. Apparently, the film is an adaptation of Shakespeare’s Romeo and Juliet. Saud has picked up an age-old known plot: the on-going feud between two families over a resurfacing ‘char’ (land rising from the river) where cupid strikes its arrow!
Films having cinematic aesthetics, in Bangladesh, often fail to feed the mass. And therefore film-makers focus, usually, on market demand, rather than reforming the conventional. Nevertheless, Saud has proved, in his debut film, that recurring stereotypical characters. Can allure the viewers through the art of characterization.
The Precisely Substantial Screenplay
The precisely substantial screenplay and well-sculpted characterization have made the plot. New to the viewers as scenes seem unpredictable, and thereby the film raises the suspense: what’s next! This might be the first and foremost theory to have the eyeballs in grip in cinema halls for more than 2 hours.
The director played his Ace cards in casting. Three characters hit sixers in each ball they played. The trio-sixer-squad is Ismail (Fazlur Rahman Babu): a lowlife drunkard, reminding Shakespearean ‘Fools’. Who often remain drunk, with a bit exception in Saud’s film where Ismail is portrayed as the ‘witty rascal’. Having no virtue, to whom money is the only visible ‘god’, and for which he can put his daughter’s life (Parul) at stake.
Another terrific captivating character: Hanif (Jeetu Ahsan), Latif’s cold-blooded, shrewd son, reminds Shakespeare’s Iago in Othello, representing the most destructive villain in the film who is devoid of empathy: even for kids (Mizan’s teenage son’s murderer). In addition, the characterization of Mizan (Shahadat Hossain), Asma’s trusted associate, and younger brother-in-law are designed in a way that might flood the cinema halls with tears. The performances of these trios deeply connect the viewers with the storytelling. Certainly, the veterans — Suborna Mustafa (playing Asma, a strong village matriarch), Raisul Islam Asad (Latif, portraying Asma’s next-village arch-rival), Sharmimala (playing Komola, Asma’s widowed daughter-in-law) and Runa Khan (Shamima, Hanif’s wife) are filmed Gohin Baluchor in ways that make viewers’ psyche travel with their actions.
The Performances of the Three Newcomers
The performances of the three newcomers — Abu Hurayra Tanvir (as Asma’s son Sujon), Jannatun Noor Moon (as Parul, Ismail’s daughter), and Neelanjona Neela (as Latif’s daughter Nishi). Though fell a bit from the fence compared with the veterans, have pulled the plot with their charming age. Market the desired choreography of lover’s musical meetings by Naziba Basher. And Shakespearean tragic-ending of the couple. It reminds — “the course of true love never did run smooth” (A Midsummer Night’s Dream).
Moreover, Shakespearean’s’ fate’ in lovers’ lives well-embraced by the stereotypical consumers of the culture industry. Therefore, perhaps, Saud wisely imbibed the role of ‘fate’. That takes away Parul’s life, and Sujon suicides seeking reunion of the soul in ‘after-life’. It also pitches the tone to the viewers: Love to smoke and made with the fume of sighs. (Romeo and Juliet), of which Nishi became the victim — the only alive lover in the triangle!
The film feeds the notion of idealized heterosexual love with a conventional plot but convincing characterization, which the mass cherishes in the Indian subcontinent.
The Material Influence
However, from a Marxist perspective, it could say that the film projected, metaphorically. The material influence over human emotions, as abstract love-harmony. Disrupted due to the power-conflict along with the role of an economy that buys human ethics, and even wipes out Sujon�s decision: whom to marry!
Melodies of Emon Shaha help the triangle love-story of Parul-Sujon-Nishi set sail through the mishmash of dream-and-reality, plot-fitting-setting, and culturally acceptable ‘kissings’! Cinematography by Komol Chandra Das could have more aesthetically sketched in terms of characters’ power-packed performances. But the musical acts are well-framed that suit the ‘cupid-love-affairs’! And, the sunset with the death of lovers (Sujon-Parul) upon the boat well sewn. In terms of cinematography, music, and climax Gohin Baluchor.
Viva La Arts, Viva La Films!
