As a leader of the local community, Chairman Amin bans every kind of image in his water-locked village in rural Bangladesh. He even goes on to claim that imagination is also sinful since it... See full summary »
As a leader of the local community, Chairman Amin bans every kind of image in his water-locked village in rural Bangladesh. He even goes on to claim that imagination is also sinful since it gives one the license to infiltrate into any prohibited territory. But change is a desperate wind that is difficult to resist by shutting the window. The tension between this traditional window and modern wind grows to such an extent that it starts to leave a ripple effect on the lives of a group of typically colorful, eccentric, and emotional people living in that village. But at the very end of the film, Television, which he hated so much, comes to the rescue and helps Chairman Amin reach a transcendental state where he and his God are unified. A new twist to the story makes him embrace IMAGE and IMAGINATION Written by
Mehedhi Al Nahiyan
I went to the cinema on the very first show with enormous positive anticipation about this film as it has got the highest media hype in our country. The film entertained me on various angles but I was not mesmerized or something like that. I was convinced that it was a good film because of the intriguing content, standout performance by one of the main actors - Mosharraf Karim, and the twist in the later part of the movie. The cinematography could have been much better. The director used the "handheld camera" technique in random sequences and it didn't serve the point. As we all know that this technique is mainly used to create intensity in an intense sequence. Misunderstanding this concept, can create viewing disturbance. I would have talked about some more aspects but unfortunately I won't. Because this film does not deserve the actual criticism. Let me tell you why.
The main shocking fact about the film is, this film is a total conceptual copy of another Turkish film "Vizontele". The main concept in both films is, bringing a television to a remote village and creating the story of how the people and the society react to it. The design of the script in both movies are aimed to entertain the audience by the situational humor and the shocking ending. I would say that in case of disturbing ending, the Turkish film was light years ahead. It slaps you hard out of nowhere. In "Television", the same scripting design was followed by the writer and it might move you if you didn't see the Turkish one. But as a Director like Sarwar Farooki, I am deeply disappointed by this silly attempt of deceiving the audience. After finding all these, I totally lost all the charm about this movie and I think the director should answer this grand theft.
Mostafa Farooki is a very popular director and a creative one. But if he starts thinking that he can watch the less known movies of world cinema (in fact, "Vizontele" is not so less known) and make movies out of those, he should just join the mainstream Bangla Cinema and do the Bollywood rip offs. It would be easier, isn't it?
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