The 2020 movie is the directorial debut of Masud Hasan Ujjal and only the second Bangla movie released in the theatres in the last few months. Critics have praised several aspects of the film and criticised other parts. Rahat Karim reviews the movie
UNOPONCHASH Batash is the debut film by Masud Hasan Ujjal. The film was released on October 23 marking the second Bangla film released during the COVID-19 crisis. It’s a romantically boring film.
Masud Hasan Ujjal started as a television director; his works follow the subject like magic, physics, and reality. His works question reality as we know it. Working as an independent creator, Jantrik Foring Ek, Himshitol Refrigerator is some of his remarkable works. His new films show his ambition for filmmaking but he misses the essence of storytelling here. The film is technically sharp but the story is sloppy.
The theme of the film is unconditional love. Nira, an upper-class girl from Dhanmondi falls in love with Ayon, a medical representative from the Old Dhaka. Nira is studying zoology and her father is a doctor. Nira falls in love with Ayon for his simplicity. It seems like a typical Bengali film where the rich girl falls in love with a poor boy and they fight for their love. The film follows the age-old recipe.
The story has followed a three-act structure, the introduction starts with Nira following Ayon and she discovers his hidden behaviour. His attitude surprises Nira and that makes her fall for him even more. She struggles to hide her feeling for him. One day suddenly Ayon realises Nira’s attitude and he realised they are in love.
The second act is their journey to keep up with love while Nira is having an exam. The third act is all about Nira’s finding the secret about Ayon and her struggle to keep the love alive. In a sense, it’s a romantic film with an unexpected turnaround to it. The story had much potential but it lacks emotion.
The script and dialogues of the film are very dull, the story lacks actions, motivations, and emotions. With sloppy dialogue, the movie fails to achieve its potentials. The film’s starting is magical though, the end is ambiguous and in between in two hours of watching the screen is not noteworthy.
The highlight of the film is the acting of Nira. Sharlin Farzana did an average work portraying her character but her acting was natural. Nira’s motivation and ambitions are shown on the screen but it lacks emotions because of the sloppy dialogue. Ayon is played by Imtiaz Barshan. His acting is average but he did well in the romantic character.
The film has three musical tracks and too many ambient sounds. Film sound or background music motivates the characters and the audience; it plays a key role in creating the mood and helps navigate through the story. In this film, it felt like the music is just there, without any reason and going nowhere.
The capstone of the film is the cinematography; the film is mostly shot in the old part of Dhaka and Dhanmondi. In this chaotic town, the film beautifully captured the moments around it. Like lovers waking in a busy ally in Old Dhaka. The lights were natural and the tones complimented the story as the story progress there is a change in the visual which suited the story.
The cinematography is nice also because of the art design and costume design. The costumes were very natural and colourful. It suited the characters well. The art design is done by the director himself. His precise work in set design is remarkable in the film.
The editing of the film is average; it felt like there are many unnecessary scenarios such as capturing dialogue from a different perspective. There is a sudden change in the aspect ratio in the first part of the film. That made me wonder if the film is a rough cut or there is something wrong with the cinema hall.
Ujjal showed his technical skills in the film. The film is two hours and forty-five minutes long. To save our ailing cinema halls the film is a must-watch. Best wishes to Ujjal for his next film.
Rahat Karim is a disappointed Bangla film enthusiast.
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