November 12, 2014

I don’t think if this can be called a meta-movie. It is something different. And special. This is not your usual “anthology”. This is a story of 4 directors, setting out to 4 short films revolving around the theme “death”, given to them by the mysterious producer. If you find this baseline to be interesting, wait till you watch the film. It is an enthralling experience from start to finish. Srijit Mukherjee, for my eyes, is a master story-teller.… read the rest.

I don’t think if this can be called a meta-movie. It is something different. And special. This is not your usual “anthology”. This is a story of 4 directors, setting out to 4 short films revolving around the theme “death”, given to them by the mysterious producer. If you find this baseline to be interesting, wait till you watch the film. It is an enthralling experience from start to finish. Srijit Mukherjee, for my eyes, is a master story-teller. He weaves magic in the form entertaining stories.

The film touches multiple genres, with a brilliant narrative structure. The narration is easily the best among Indian films in the past year. The skips, the cuts, time lapses, the transitions between real and reel are a pure treat to watch.

For example, there is a scene where a director is narrating his story, and we are cut to a frame where the lead character is featured in the middle of a room. The director is seen to be placing articles in the room, apparently being in the process of production design or “art direction”. He is then interrupted by another director who is listening to the story, and the visual of the director inside his “character’s” room stops what he’s doing, turns around and answers the question. Well, that just took the candidness of the film to another level! There are many more unconventional moments such as this which are bound to make you fall in love with Srijit the audacious story-teller .

There is this funeral post-climax, and I honestly feel it was one brilliant piece in this big jigsaw puzzle. There is no “rain” at the funeral and no “dark” color-grading. Just simple and straight-forward stuff, no cliches. And it also evokes few laughs, you’ll know when you watch it.

Things aren’t complicated, neither are they superficial. There are many underlying themes like retribution and death, which are put forth in the most inventive ways possible. And then there’s the social commentary as well. I leave it to you to figure out where it is placed. You’ll be amazed when you realise the placement. The songs are beautiful, with the female version “Basanto Eshe Geche” standing out tall. The background score is adequate, and the overall production value, slick. I felt there were few unwanted characters and few minutes of screentime wasted on them. Maybe they simply can’t be replaced, but could have been done away with completely. They don’t add anything to the story in terms of progression.

Parambrata Chaterjee is a revelation, be it his body language or dialogue delivery. The dialogue where he references Clint Eastwood is a scene where he reaches another level of eccentricity! He is one actor who could, in the near future, be the face of indie flicks in our part of the world…

Already among the best Indian films of 2014, Chotushkone is a ride one must not miss. Though not visually arresting, the screen will have your attention, thanks to the actors and situations they go through. And there are the unexpected twists thrown at us, which will leave you watching in glee. With all the detailing and commentary on contemporary cinema, this is one film every cinephile should watch once in his life.

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