Shonar Pahar review: Cliched twists fail to leave a lasting impact

There are moments of innocent mischief, nostalgia and secret promises shared by two friends in an unusual bond in Parambrata Chatterjee’s Shonar Pahar. However, the moments and the inherent message of the film somehow fail to strike a cord due to a dragged storyline, a misfit pace and clichéd twists. The film certainly doesn’t deliver a story loaded with poignant moments promised by its lyrical trailer.

Chatterjee’s efforts and intentions are undoubtedly beautiful, but they go haywire. Unfortunately he fails to make use of all the brilliant performances in the plot. Even if the first half of the film keeps the audience engaged with ample sequences of the child artiste, the second generates anticipation for some refreshing twists but comes with melodramatic ones instead.

In the film Upama Mukherjee (Tanuja) is an old lady, who lives all by herself, neglected by her son Soumya (Jisshu Sengupta) and daughter-in-law Moumita (Arunima Ghosh). One day she accidentally slips off in the bathroom and her maid Namita calls up a day care called Ananda Ghar. Coincidentally, Ananda Ghar is run by Rajdeep (Parambrata Chatterjee), Soumya's childhood friend. He recognises Upama’s name and address and reaches there with a physiotherapist.

He learns about Upama’s current sad state and proposes to send one of the unprivileged children from his home to spend some time with her. Initially reluctant, Upama finally agrees to the proposal. The orphan child from Ananda Ghar, Bitlu (Srijato Bandopadhyay) is extremely naughty and has answer to all the troubles. Soon he forms a bond with Upama that begins to compensate for the distance between her and her son Soumya.

Upama slowly rediscovers herself by partaking in adventures with Bitlu. Eventually, Upama and Soumya face the reality of their relationship.

I used to be quite mischievous on the sets of Shonar Pahar: Child actor Srijato Bandopadhyay

The most refreshing and adorable moments in the film are dominated by Bitlu. The interactions between him and Upama bring broad grins. It seems no one except the kid with an impish smile, sharp mind, bit of street smartness and a few desperate demands, could have lit up the world of the secluded headstrong lady better.

The idea of connecting Upma, Bitlu and her estranged son through stories written by Upama from her son’s perspective is novel indeed. However, the detailed narrations of the stories in flashbacks are too lengthy, and honestly speaking, unnecessary. Had the narrations been in animations with Bitlu imagining himself to be the central character, the sequences would, perhaps, have been more intriguing.

The best dialogues in the film also come from Bitlu. It seems Chatterjee lacked the attachment while writing the dialogues for other characters that he shared for Bitlu. Especially, most of the lines by Soumitra Chatterjee are quite flat. Also, a few deep lines could have elevated the dignity in the character of Upama by manifolds.

The equations between Upama, Soumya and Moumita have nothing new to offer. Soumya’s transformation, his outbursts and journey to realisation are exceptionally melodramatic. Perhaps, it would have been better to retain Upama and Bitlu's friendship in the centre till the climax, with Soumya and his moments of truth kept in the periphery.

Actress Tanuja's poignant expressions speak of the worries, the emptiness of her mind and her relentless struggle to stay strong. She becomes the embodiment of the stubbornness contrasted with the affection for Bitlu in her character.

Child actor Srijato Bandopadhyay brings comic relief throughout the film. He is the innocence amidst all the forced maturity, voice of wisdom among the cluster of complexities. He brings the truest of emotions.

Chatterjee delivers a decent act as the balancing factor between the dejected mother and her confused son. Jisshu Sengupta is just confused and melodramatic when he needs to be. Arunima Ghosh does justice to her brief performance as well.

Though his character in the film is quite flat, Soumitra Chatterjee infuses some charm as a friend in whom Uapama confides. Lama seems a perfect match for his character as the taxi driver who becomes an accomplice in Upama and Bitlu’s adventures.

As discussed previously, leaving Upama and Bitlu, most of the characters go through a sudden transformation - a motif that has been repeatedly exhausted in various films. There are no grey shades in them and neither do they offer complexities.

Except the moments that bring the nuances of Bitlu, Subhankar Bhar’s cinematography is quite jarring at a few points and doesn’t add to the storyline.

Neel Dutt’s music, inspired by the compositions of noted Argentine musician Gustavo Santaolalla surprisingly goes well with the narration.

One would easily get the feeling that Bandopadhyay and his character overpower all the other elements and characters of the film.
Chatterjee’s message to all the grown up sons and daughters to take care of their parents before it is too late is definitely present in the film, but it fails to leave a lingering impact.

Only if Chatterjee had explored the dark horse of his film, Bitlu, more with a more cinematic finesse, Shonar Pahar could have lifted the spirit of adventure towards finding the treasure of our hearts to a great deal.

Watch the film's trailer below: