According to the Dictionary, ‘failure’ means ‘lack of success’! After coming out of the air-conditioned multiplex, the emotionally conditioned mind of the sensitive cine goers will vouch for the fact that ‘Praktan’, the latest venture of Nandita Roy and Shiboprasad Mukhopadhyay is a failure. The 142 minute saga of simple soul-stirring tale has indeed failed to make people reside in a world of make-beliefs where they can feel that they have been able to come out of their past and is living absolutely in the mirth of present. ‘Praktan’ is a form of wound which every humane soul has suffered from. The transparent truth makes us realise that the film is nothing but a dig into a state which can fashionably be called as ‘memory(ies)’ that play an indelible part in our existence.
The movie takes place in a moving reality of a journey that spills out a montage of memories before almost all the people in the auditorium. The lucid way of telling a story, a hallmark trend now with the director duo, makes it terribly personal for the audience of the hall. The ‘bangaliana’ in the film takes a brilliant status as our very own Soumitra-Sabitri moments recreate a colourful magic of the black and white era of Bengali cinema through their caring gup-shups, Darjeeling Tea and ‘Gurudev’ (Hotath Dekha).
Finally it was the magic of the ever classy Prosenjit Chatterjee and the ultra elegant Rituparna Sengupta after 15 long years. The characters of Ujan and Sudipa were simply as fresh as the darling buds of May. In the middle of a journey from the Financial Capital of the Country to the ‘City of Passion’, it was their time of realisation of a once suffered ‘mis-match’ which only had a significance of a ‘missed-match’ in reality. Even though both the characters were settled in their own respective lives, the unknown seriousness in the eyes, the unsaid parable of their love and perhaps the unheard reciprocation of a lost reality were all that they could exchange with each other in a chance meeting. Aparajita Auddy (wife of Ujan) and their daughter ‘Putul’ was the bridge between the lost souls and the dishevelled selves.
The movie ends with the protagonists being guided away with their settled reality and a smile in each other’s face-a smile that perhaps depicts the lost battle between stubbornness and male ego, jealousy and love, practicality and priority and ultimately, reality and past. The choric characters of Anupam, Anindyo and Upal, and Surojit give the plot a captivating feel with their melodious intrusions. The characters of Biswanath and Manali as the newly-wed couple may be ‘plebian’ in nature but it heightens the realisation of another tale of a failed marriage in the next coupe.
The simple way of telling a story remains as the USP of the director duo. The movie is a realisation to some and a feeling to the rest. It fails to those who feel that memories play a side role in the drama of life and on the other hand, to the rest, it is a re-establishment of a success story that we live with our hearts out and past is not merely an impression but a broken piece of jig-saw that completes the present state of life.
As felt by Spandan Banerjee.