Mini Intro about Aparajita Tumi Review: Aparajita Tumi (2012) is the story of a Bengali couple, Pradeep and Kuhu, living in the United States. Their unromantic conjugal life enters a thundering phase as Kuhu learns about Pradeep’s extramarital affair. Relationships are put to acid tests, sensibilities invoked and hard decisions made. Aparajita Tumi transcends the simple tale of a failing marriage and delves into the psyche of the human mind, a feat Aniruddha Roy Chowdhury accomplishes seamlessly.
Cast and Role: Aparajita Tumi Review
|Prosenjit Chatterjee||As Pradip|
|Padmapriya Janakiraman||As Kuhu|
|Kamalinee Mukherjee||As Ushashi|
|Chandan Roy Sanyal||As Ranojoy|
|Indraneil Sengupta||As Yusuf|
|Kalyan Ray||As Kuhu’s Uncle|
|Emielyn Das||As Pradip’s Daughter, Chandra|
|Tanusree Shankar||As Kuhu’s Mother|
|Soumitra Chatterjee||Guest Appearance as Himself|
What do I conclude after watching Aparajita Tumi (2012)?
Based on Sunil Ganguly’s novel “Dui Nari, Hate Torobari”, Aparajita Tumi also features another Bengali couple, Ronojoy and Ushashi – the antithesis of Pradeep-Kuhu. Their dissimilarities are a common thread between the two couples. A clash of egos, Ushashi’s low self-esteem and a saga of vengeance unfold as the story progresses.
Viewers might find the pace of the narrative a bit too slow. The film moves at a pace slower than raincoats. But when you juxtapose this fact with the tumultuous episodes facing the characters, one is forced to marvel at Aniruddha Roy Chowdhury’s acumen. From Anuranan to Aparajita Tumi, he has finally matured as a storyteller.
Aparajita Tumi is visually stunning. I do not remember watching a more beautiful portrayal of San Fransisco in any movie made in any language. Aniruddha always manages to make the city a part of the script. Aparajita has been no exception.
In a film where expressions matter more than dialogues, actors become the pillars of the movie. Padmapriya and Prosenjit live up to their characters. One can easily sympathize with Kamalinee when she is rebuked for the “extra salt in the Ilish Mach” in front of a room full of people. Indraneil Sengupta (Yousuf) comes as a breeze and passes by like a whirlwind. One cannot help but take notice of his flawless Bangal dialogue delivery. Chandan Roy Sanyal has a small screen presence, but he makes a dent in your mind with his recitation of Shakespeare.
The film would have been incomplete had it not been for three men – Chandril, Shantanu Moitra and Anindya. The music fits into the screenplay so beautifully that it takes the narrative ahead without becoming a nuisance. Conflicts of the mind lay bare in the songs penned by Chandril and Anindya. Shantanu’s score adds salt to foods that could otherwise have become bland.
There is a sincerity with which director Aniruddha Roy Chowdhury tells his stories. His serene approach towards the gravity of life and its ugliness is his signature appeal. Quite similar to Anuranan in theme, and strikingly resembling Antaheen in execution, Aparajita Tumi brings out his best so far. No matter what others say, its slow pace is its USP. You may also like to check out the review of one of the best Bengali movies “Goopy Gyne Bagha Byne“.
Complete Analysis of Aparajita Tumi
Aparajita Tumi is the narrative of a man torn between two ladies. It’s an account of a lady grappling with the way that the father of her two kids can and has affection for another woman. It is the account of five lives, every battling his/her own particular evil spirit and attempting to exist calmly in a world that is scarred by scabbed-over sensibilities.
The film, an adjustment of Sunil Gangopadhyay’s story, manages a wafer-flimsy plot encompassing the lives of two NRI couples — Pradip (Prosenjit), Kuhu (Padmapriya) and Ronojoy (Chandan Roy Sanyal), Ushashi (Kamalinee). As the contact between Kuhu and Ushashi builds, Pradip gradually gets himself dragged into the lattice of another relationship. The lives of Kuhu and Pradip vector into an alternate space where the last’s affectability nurtures the forlornness of the previous’ chilly marriage. At that point, the film turns to the story, what with the news of Pradip’s danger raising its appalling head.
Could an emergency break down contempt enough to forget a man? Will extra feelings of fascination be deleted in light of the fact that one has accommodated with his accomplice? Aniruddha answers a couple inquiries and abandons the rest of the gathering of people to make sense of. What sets “Aparajita Tumi” separated is the treatment.
The melodious nature of Ranjan Palit’s lens, the delicate dialogue of Shyamal Sengupta and a frightful feeling of affection in the seasons of forlornness that is somewhat reminiscent of Mira Nair’s “The Namesake”, spares the film from being an instance of old wine in another jug. As one enters the life of a lone lady (Padmapriya) strolling down the shore while leafing through the pages of a talented book amid the second happening to her previous accomplice (Yusuf), one contemplates the implications that develop from her line: “Connections are not about fortified work.”
Regarding exhibitions, Prosenjit concocts a limited and develops an act. Joining an intriguing mix of defenselessness, affectability and a man with a happy eye, he seems to be a character for whom life exists in spaces that are not characterized by water-tight compartments of good and bad. At that point, there is Padmapriya. She disguises her part and is all finished with her American highlights and broken Bengali. Chandan is a dim steed who shocks with his eccentric blend of criticism, mind and world perspective (“lobhe e paap, paap e mukti”!).
Kamalinee, as Chandan’s wife and Prosenjit’s adoration interest, needs to unstably adjust her demonstration to hold the viewers’ compassion. Indraneil (both as far as looking and Bengal articulation) seems to be as wonderful in amazement as Yusuf. He keeps it exceptionally downplayed but then bodes well while saying: “Shomoyer sathe mone hoy odhikar Gulo chole Jaye.” While Soumitra Chatterjee’s visitor appearance just includes a touch of sentimentality and interest worth, Tanusree Shankar as Padmapriya’s mom is a decent decision for the part.
On the off chance that there is another legend in the film, it is Ranjan Palit. All the credit goes to the expert cinematographer who makes a humbly planned Bengali film look expressive. There is a dejection composed over a montage of pictures that pulls at the heart, even as writers Shantanu Moitra (with his group of Anindya Chattopadhyay, Chandril Bhattacharya, Neha Rungta, Shreya Ghoshal, Hansika Iyer, Monali Thakur, Suraj Jagan, and Rupankar) explain basically what the nobleman is.
The film’s listless pace may work for a few, however, for the fretful others, it risks making it an exhausting film. In any case, the in-film marking is a significant blemish and regardless of how much the executive contends about the need to recoup cash, they stay like disturbing ink smudges on the rich and tastefully embroidered artwork of Palit’s canvas.
Summary of Aparajita Tumi Review
The film opens with the betrayed wife, Kuhu, walking out on the marriage and depositing the kids with the parents to get some personal time to gather herself. Always an independent woman, in her thoughts as well as in making choices about her life and love, Kuhu has developed a classic American directness of dealing with things. She is willing to deny herself a romantic relationship if it doesn’t assure the stability she seeks, or in telling the “other woman” to get a grip on her thoughts or even in telling her own parents that her marital discord is her problem she has to sort out on her own.
With Padma Priya, we have a Tamilian playing the role of a Bengali girl schooled in America, falling in love with a Muslim Boy from Bangladesh, discussing relationship dramas with a multi-ethnic single mother of three children and an old friend.
The story unfolds on many fronts. In the immigrant’s dilemma of going back to the people and places left behind, in the longing for the lost days of youthful camaraderie, learning the notes and finding an elusive harmony, and in having to deal with the certainty of the death of people we have loved. However, the central theme appears to be the “grey” area of relationships, amidst the much societal and some biological pressures on it.
The film takes a stance on the subject in the end, after pondering on the fundamentals of how to sustain one comprising of pillars of marriage and offspring, and the question of fidelity of pure companionship versus fidelity in general. This is where the complexity of the movie lies, and exactly where you have to unravel all the layers at once to find its subliminal message.
My Opinion: Aparajita Tumi Review
Aparajita Tumi (English: Undefeated) is a complex movie and also one with many layers. Layered, not in a way requiring you to peel away one at a time, but instead challenging you to synthesize and enjoy all of them at once. Director Aniruddha Roy Choudhury is from the genre of modern makers of Bengali cinema who practice their craft with an eye for the thinking crowd, and this by far is his best attempt in this space.
Ultimately, as the name might lead you to believe, this is a film about a wife, mother, lover, daughter – and how a particular set of events initially question but eventually restore her as the unvanquished modern woman. Ranajit Palit does a fine job capturing the rugged edges and unforgiving moods along the famous Pacific Coast Highway and in and around the famous city of “Frisco”.
But the essence of the film is not restricted, although it is beautifully influenced, by the environment in which the events unfold. The romantic city provides an appropriate backdrop for moments of carefree connections and meeting again, whereas the ocean provides the moods of a teetering relationship and impending separation. The songs are haunting and lovely, the music appropriate to the build-up, but appear to overwhelm the visuals sometimes. Too many beautiful things can be distracting, especially if you are middle-aged.
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