- 2h 21m
Buno Haansh is the thrilling story of Amal - a simple man, born into a poor but honest family of Bangladeshi immigrants. He works as a security guard at a mall surrounded by materialism, whi... Read allBuno Haansh is the thrilling story of Amal - a simple man, born into a poor but honest family of Bangladeshi immigrants. He works as a security guard at a mall surrounded by materialism, which is just beyond his grasp. He gets tempted by the world of wealth and consumerism and le... Read allBuno Haansh is the thrilling story of Amal - a simple man, born into a poor but honest family of Bangladeshi immigrants. He works as a security guard at a mall surrounded by materialism, which is just beyond his grasp. He gets tempted by the world of wealth and consumerism and leaves his safe and ordinary existence for a life on the wild side. A close friend introduce... Read all
Need, greed, exploits, chase — and an uncertain return! Aniruddha Roy Chowdhury, known for his urban tales of love and longing, takes a turn — almost 360° — to plunge into the dark dungeons of Kolkata and discovers gold in filth and grease. His movie, replete with crime movie clichés — good boy meets bad boy, poverty playing havoc, the inviting whirlpool of danger from where there's no respite — turns every stock situation and character into an advantage as he etches out real people and shows flourishes of style that make you gape in awe. Well, nothing can go wrong if your heart is at the right place.
All the characters in the movie, however, are not bred by Samares Mazumdar's eponymous novel. Aniruddha has taken many creative liberties, some of which work wonders. The most precious turnout is Amal's sister-in-law, who is not nagging as in the novel and becomes the protagonist's biggest support system. Pushed to the brink by poverty, she renders one speechless when owning up about having to pop pills while yearning to become a mother. With her pechhone baansh, bogole itihaash line, she is symbolic of the millions living on the fringes of this society, ostracized by its greatest evil, poverty. She lends Amal character — her pain, anguish, concern a possible justification for his behaviour. Sudiptaa Chakraborty, in a power-packed performance, is bound to stun and silence actresses her age, older and younger. So what if she has competition in Sohag Sen as Amal's mother, Srabanti (Sohag) as Amal's love interest, and Tanusree Chakraborty (Rijula) as Amal's partner in crime? Sohag is motherly, Tanusree shows promise despite being less mysterious than in the novel, and Srabanti — though she looks straight out of Goynar Baksho in many scenes — is effective in her small role.
As women pack a punch, Aniruddha can pat himself some more. All his actors — operators of the international crime syndicate — shine in character roles, be it Gargi Roy Chowdhury, Shankar Chakraborty, Arindam Sil, Anindya Banerjee, Shantilal Mukherjee, though Moon Moon Sen aka Madam is very... Moon Moon Sen. Did we see Raima Sen turning on the heat in one sequence, dance-happy and dialogueless? BunoHaansh, which is as much about its characters as about the story, passes a litmus test as Dev aka Amal turns in a mature performance. No wildlife safari, this is life, wild, very wild. And Dev, despite some diction irregularities here and there and falling a tad short when pitted against Sohag or Sudiptaa, pulls off the role of a simpleton who has his innocence intact as he meets the vagaries of life, chin-up. In a poignant moment, he sits on the banks of Padma, remembers his parents' agony of living life away from their motherland and smears the soil across his forehead. Tears come naturally to him, but they don't break his character, they make him. He is both vulnerable and strong, dancing to the tunes of Rijula in one half of the movie and wielding the gun in an ambush on the over-bridge. Does he succeed? Telling it would be telling the story. But what can be said is that Aniruddha doesn't rob himself of his signature style. So, there's hope and hopelessness, end and a possible beginning.
Another positive of the movie is its music. The Aniruddha- Shantanu Moitra-Anindya-Chandril combination has done magic before and it doesn't come as a surprise that they cast a spell again, joined in by Srijato in the efforts. The song, Zindagi Kahin Bhi Thamti Nahin, in fact, aptly sums up the theme of the movie. That apart, there's music that entertains, prods and provokes... What also stands out is the director's eye for detail. So, when a flight takes off, you can see its shadow fleetingly kissing the grass below, when a phone is found from the scene of crime, there's a droplet of blood on its display. Strange then, why should Sohag, who is undergoing treatment, have hair on her head after her pate's shown wrapped in a towel in a previous scene? This review is not to find faults, this is not even to praise. Let the box office do the talking. The wild goose chase on the bumpy road of life is indeed engrossing. Fact is, there's a road ahead and this film is a journey. For the fainthearted, whose roads bend south at every turn, there's just one pointer — DANGER AHEAD.
- Aug 17, 2014