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9 years of ‘Baishe Srabon’: Why Srijit Mukherji’s film is all-time favourite for thriller buffs
Sep 30, 2020 Publication : timesofindia
A movie that explores issues like commitments, both personal and professional, and how far one can go when one is denied basic recognition and respect even after being true to one’s calling. That’s what interesting about Srijit Mukherji’s film on a serial killer who runs havoc in Kolkata. As ‘Baishe Srabon’ completes nine years today, interestingly on Prosenjit Chatterjee’s birthday, let’s find out why this thriller continues to woo the cine lovers even today.
The premise is simple. A serial killer on the prowl has baffled the forces and a suspended officer is asked to help solve the case. Once Prosenjit Chatterjee, the once-suspended officer, enters the scene, he carries the film on his shoulders. The actor transforms into this arrogant, cussword-spitting, bored officer who doesn’t bat an eyelid to insult anyone with his razor-sharp one-liners. His look, body language and dialogue delivery are near-perfect. Though there was ample scope for him to get melodramatic, Prosenjit is very restrained.
Source : bit.ly/3seHw0iGiving him able company on screen is Parambrata Chatterjee. This is easily one of his finest performances till date. Param’s character is both rooted as well as uninhibited in his approach. He lives in with Raima. Unlike many men on Bengali screen, Param doesn’t shy away from shedding tears as Anupam Roy sings “Ekbar bol nei tor keu nei” (that has Shubhayu Sen Majumdar lending able support on the esraj).Then, there is Goutam Ghose. Playing a mad poet of the hungry generation comes easy to the director. Not just his acting, “BS” also has him reciting his own poem as a creation of his on-screen persona. Raima is a good choice for the role of a journalist. Those interested in the arresting picturization of Saptarshi Mukherjee and Shreya Ghoshal’s
“Je kota din” should not miss out on the good on-screen vibe that Raima shares with both Param and Abir. Rajesh Sharma does a decent job too. Soumik Halder’s cinematography and Ananda Adhya’s art direction maintain a fine balance in making Kolkata look gritty yet poetic. Anupam proves yet again that he specializes in penning songs of loneliness. Indraadip Das Gupta does a neat job with the background score, especially in scenes that introduce Prosenjit’s crumbling mansion and the scene where Prosenjit asks Param to fetch him his suitcase (storing his uniform).
Special mention ought to be made to Srijit’s dialogues that often have a queer punch of sarcasm and humour. Mark this exchange between Prosenjit and Parambrata:
Prosenjit: “Whisky chole?”
Parambrata: “Naa.”
Prosenjit: “Bournvita?”
Or this one between Abir and Raima:
Abir: “Taar maane bolchish Chondidas er bhashaye nikoshito hem, kaamgondho naahi taaye?”
Raima: “Bingo! Only mon, no hormone!”
Yet, ‘Baishey Srabon’ also has its share of blemishes. Despite the beauty of the portrayal of the relationship that Raima shares with Param and Abir, for a true-blue thriller buff, these subplots can seem over-indulgent exercises that slow the movie down. The ending, though conceived as a twist in the tale, might seem a little predictable.
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