Chand Pahari: Mouboni Sarkar adds glamour to the mundane murder mystery


Chand Pahari

A group of spoilt brats, their friendship, their misdeeds and eventually the trauma they face on vacation turned murderous is all that director Ashish Mitra’s Chand Pahari stands for. So what’s new? Am sure must be the next question popping up in your minds and unfortunately the answer here is “There is indeed nothing new”.

A poorly handled script, shaky cinematography, duplicity of scenes in the songs and worst of all amateurish editing is what makes up the movie which until release had sounded and seemed to be quite promising.

At a time when Tollywood is getting international acclaim for its path breaking cinematic adventures, movie like this take us back to the 90s when Bangla movies had become a strict “No No” even for Bengalis. Little bit of care in direction, costumes, choreography and editing might have made this movie appealing to at least a certain class of the audience.

Chand Pahari

The only high point of the movie was the presence of actors like Moubani Sarkar, Dulal Lahiri and Krishna Kishore Mukherjee who played their parts well and added that much required glamour quotient to this otherwise mundane movie. Mouboni as Rai has not only done justice to all her acting parts but is also the only one whose costumes and looks the designers can proudly flaunt and talk about.

The dance and song sequences of the movie which are known to drag many an otherwise poor films down the success path have also failed miserably in the case of Chand Pahari. The choreography which was intended to be sensuous has turned out to be vulgar (this may draw a few audiences to the theaters though). Repetition of shots in the songs was another spoiler to the overall effect of the movie.

It is definitely not mandatory that every movie has to have a new thought process but it is indeed necessary that every kind of content is dealt with artistically in order to cater to the likings of cine goers of today as, owed to the aggressive marketing techniques that are adopted now days, that marked distinction between the masses and classes is gradually fading out at least in terms of commercial cinema appreciation.





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