Chaurahen Bollywood Movie Review

The four stories, originally published by Nirmal Varma, bond in a mysterious melange of pain, longing and tentative redemption in “Chaurahen”. In her other film “Aisha”, director Rajshree Ojha gave us no clue of her affinity to this kind of intimate connection with the deepest recesses from the human heart. “Aisha” became as shallow since its Jane Austin-derived protagonist.

Dare we say the characters in “Chaurahen” are as thought-provoking because writer-director’s vision of the life inside metros? Under the bustling soundtrack (from Rabindra Sangeet to Carnatic sangeet), there’s an all-pervasive stillness essentially in the stories that crisscross so effortlessly in “Chaurahen”. The characters are living with ghosts, reluctant and afraid to allow go of the past and live in the present.

Each from the four stories is steeped in nostalgia, pain plus a final redemption (the airport finale feels fake).

With amazing clarity plus an arresting economy of expression, Ojha brings forward these lives scattered across three cities looking to comprehend their past and provides, making an effort to pay attention to that beam of light which can be visible only when the pain of existence is seen to be a variable circumstance inside the wider scheme of the universe.

Ojha’s film focuses on receiving the characters to bare their soul without flashy acting or flamboyant moments of self-revelation. In my favourite segment, a new gay NRI (played evocatively by Tamil actor Karthik Kumar) visits his parents (Arundhati Nag and Nedumudi Venu) in Kerala following your death in the family’s elder son. The sequence where he confesses to his sister (Suchitra Pillai) that they has “someone” in Vienna knowning that someone is often a he, could easily are becoming a celebration for high-pitched drama.

Throughout, Ojha deals with the heightened emotions in the lower octave, letting the characters assimilate their emotions inside the sounds, flavours and sights from the cities that they can so tellingly inhabit. In ซีรี่ย์จีน Ojha’s narrative is stubbornly muted, from time to time audaciously playful, daring her characters to adopt life too seriously.

A rare and charming synthesis of drama and normality is achieved. There are no awkward moments even though the characters are caught at their most awkward times during the self-revelation.

When the distinguished Mr. Bose (Victor Banerjee) flaps his fading libido inside company of your fey foreigner, played by Charlie Chaplin’s granddaughter Keira – a whole non-actress – the narrative opts to zoom in for the dignity and grace that Mrs Bose produces in her pain in lieu of about the mess how the unlikely triangle creates.

Indeed, being a woman trapped in a sterile loveless marriage Roopa Ganguly emerges with the strongest performance of the film. The neglected wife is often a favourite archetype of films set in Bengal. Roopa’s portrait of desolation reminds us of Madhabi Mukherjee in Satyajit Ray’s “Charulata”.

Victor too is flawless in depicting the rather-regrettable Lolita-fixation of an bhadralok.

The rest from the brilliant cast is additionally near-perfect in bringing their characters face-to-face making use of their conscience.

Soha Ali Khan and Ankur Khanna, playing a few that has to separate as they insists on managing his dead parents, Karthik Kumar like a closet gay being forced to live his parents’ dreams for his dead brother, and Zeenat Aman as being a lonely single woman at a bar being courted with a soldier, appear to have been cast in roles they were born to learn.

“Chaurahen” is deep, layered, luminous literary yet light-hearted. The characters are burdened with all the ghosts of the past, but they be capable of find a sense of desirability in their present.

The film is located in three cities, but is really shot straight in the heart.

And if you are wondering how Tobias Datum’s cinematography shoots on location inside the heart, then you only have to look with the characters in Chaurahen that are captured in postures built way at night body gestures.

This is really a film so full of unstated relevances that you wonder why dialogues for cinema were ever invented. Or why cinema for instance, was invented or even to consider us into places with the heart which might be barred in Bollywood.