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The charming story of the film is picked up from village life of our country. The mischief of the so-called 'Molla' who has no knowledge except fanatic sentiments perturbed all. His home is the seat of an oppressive regime.
A fisherman, Kishore, marries Basanti when he visits a nearby village. After their wedding night (during which the couple is almost too shy to speak), she is kidnapped on the river. When she is found, she has amnesia; although Basanti does not remember her new husband's name or what he looks like, she remembers the name of his village. Ten years pass before she attempts to find him with their son, who sees his mother as a goddess. Some residents of Kishore's village refuse to share food with Basanti and her son because of the ever-present threat of starvation.
Again an uneatable work by Ghatak.At least for the Westerner, who does not have much of a clue about Hindouistic mythology and the life style of the Bengali people. Confusing. Contains scenes where someone tells short stories. Deterrent for good film making. Hitchcock would have not liked.
I tried to remember pieces of seeming senseless conversation parts. I could for one: "I knew a man who could recite the whole Mahabharata ..." Would you embrace and be impressed by a Western film wherein you hear someone stating: "I know a man who knows the whole Bible by heart"?
These may be cultural relativity. But filmmaking should not be dependent so much on it, especially its technical aspects. I have hardly ever seen a worse photography, a worse soundtrack. When the scenery consists of a talking group of people, we see them occupying the lower third of the frame, the lower limb cut off. About half of the frame is filled by the sky! No sort of surrealism or experimentation or exxageration.
The sound in the mostly open air, natural village background sounds shouting like if recorded in a narrow hall.
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