Cinema: Du JoneDirector: Rajiv (Shrabanti's Husband)
Producer: Ashok Dhanuka
Cast: Dev, Shrabanti, Seema biswas ,
Debesh Roychowdhury,Arun banerjee & Other
Music: Jeet Ganguly
Story : Maloy Banerjee
Video Format:FLV
Songs List Watch Online Jest Click
Dujone (Title Song Version 1)
Badhuwa Badhuwa
Rama Ho
Dujone (2009) Bengali Film Review
Dujone is an upcoming Bengali Film starring Dev and Shrabanti. Shrabanti’s husband Rajiv is directing the new venture by Dev. Jeet Ganguly is again composing the music of “Dujone”. The latest Bengali Movie Dujone is produced by Ashok Dhanuka. Check out exclusive movie stills, videos, reviews, previews and more.
Review 1: DU JONE – ADVENTUROUS LOVE STORY
by: Shoma A. Chatterji
Plagiarisation has its advantages. Specially if a regional film is copied from a slightly old film that either did not do well at the box office, or has relatively new faces in the main cast or both. Sometimes, the plagiarized regional version fares much better at the box office than the original. Dujone marks the debut of director Rajeev Kumar, who happens to be the husband of the film’s leading lady. The film stars Dev and Srabanti, two of the most promising young stars in contemporary Bengali cinema. The film, a pre-Durga Pooja release, is a box office hit in Kolkata and elsewhere. It is a classic example of this kind of plagiarisation. The original source of ‘inspiration’ is Karan’s Yeh Dil (2003) directed and scripted by Teja. Yeh Dil again, is a remake of a Telugu blockbuster Nuvvu Nenu. There is a catch though. The producer-director of Dujone should not be hauled to court for plagiarisation the way Shree Venkatesh Films were for brazenly copying every scene and frame from Namastey London, having to shell out an out-of-court hefty sum to the producer of Namastey London.
Dujone is a love story that is treated like an endless, roller-coaster adventure film that may raise the hackles of a die-hard critic for throwing every bit of logic overboard, but is cheered, whistled at and applauded by the middle-class and low middle-class Bengali for offering relief from the drudgery of their everyday lives made worse with the rising price of food and other perishables. For a mass audience forced to make do with rice and boiled potatoes for lunch, Dujone is like fish curry cooked with mustard paste and steaming hot rice.
Akash (Dev) and Meghna (Srabanti) study in the same class and in the same college. Akash, who is the scion of a millionaire industrialist, is good at games while Meghna, who belongs to a crude, unpolished fisherman’s family, is brilliant in academics. The two do not seem to be aware of one another’s presence but slowly become close friends and then fall in love. The millionaire (Arun Banerjee) does not care for the liaison and neither does Meghna’s crude father (Debesh Roy Choudhury) or his harridan, widowed sister (Seema Biswas). But the lovers stick out a thumb at all objections and go painting the town pink, thanks to a bunch of supportive college friends. The girl’s father puts his army of goons to chase the boy while the boy’s father hires the services of a professional killer (Arijit Dutta) to bump off the girl. After endless series of a variety of chases manifested in many different ways, the lovers are married off in public under the nose of their opposing parents, with the help of an entire army of collegians, just as they were in Yeh Dil. There are traces of Bobby made several years ago.
Though most of the incidents in the film make one feel that logic has died a silent death, the film manages to keep the audience hooked from beginning to end. Dev and Srabonti steal every scene from everyone else with their freshness, their energy, their youth and their vigour, forcing one to forget about the absurdity of Akash escaping from a direct hit with an axe-like object in the back unscathed save for a bottle of tomato ketchup lavishly splattered across his white over-shirt. He is still to mature as an actor but the promise is right there. Srabonti sticks out like a sore thumb within the ambience of her crude home environment. But she is a good actress and beautiful too who delivers her lines with restraint, without melodrama and is completely in control. She shines in the scene where she gets on to Akaash’s two-wheeler, hugs him from behind and gestures her indifference to her disapproving father and aunt. Dev’s father’s scheming girlfriend is expendable and so is her daughter.
The supporting cast pales in comparison mainly because of their tendency to overact, render dialogues very loudly and their characterization within the script. Even the silent mercenary killer (Arijit Dutta) who has no dialogue does a terrible job and looks thoroughly unconvincing. The most disappointing performance comes from Seema Biswas in her debut in a Bengali film. As the terrible aunt, she is loud, bitchy and murderous to an extreme though the audience thinks differently. It claps and cheers whenever she vents out her vitriol on her niece. The director should have insisted getting her hair dye because the jet black dye looks absolutely put-on. Rajeev Kumar could have tightened his script to make for a better final product. The production values are very good and so is the costume design of the lead players.
The adventure moves from small town to village to forests to a train to the railway tracks with Akash and Megha being chased right through the second half of the film offering very good visuals and lending depth to the cinematographic space of the film. Jeet Ganguly’s music is good but too many songs, some at the wrong time and place, tend to take away from the film’s intense mood. This film has several reasons for becoming a hit.
DUJONE BENGALI MOVIE REVIEW
by Kushal Dey, CT contributor, Kolkata
It was touted to be the big clash of Sharadiya-Prem Aamar vs Dujone. But,with Prem Aamar getting delayed, Dujone gets more space to make a mark at the box office, with the other release being a subdued movie (Mama Bhagne). And sincerely, this 2-crore movie needs that to become a hit.
Akash (Dev) is the son of the industrialist Pratap chowdhury (Arun Banerjee), who only knows money and business and has no time for his son. Meghna (Shrabanti), on the other hand comes from a poor family, comprising of her nightmarish pishima. Both Meghna and Akash studies in the same college and despite initially being at loggerheads, they fall for each other. But, neither of the families accept this affair.
Both the families try desperately to separate the two. They devised a plan. Both Akash and Meghna were told not to meet each other before the completion of studies. If even after that, they love each other, they can marry. Both were kept in house, arrested in complete isolation from one another, but they establish contaction with the help of friends and a professor. Before long, they escape and reach each other’s house at the same time and from both sides, there is an attept to kill them. But they flee and meet at a station, from where the together start a journey of odds against a killer hired by Akash’s dad and plenty of other obstacles. All of these leads to a highly dramatic end where the lovers unite.
What could have saved this done-to-death storyline is the presentation, but director Rajib Kumar fails in that department. As a result, the film remains a mediocre fare. In both the tamil and hindi versions, new faces were cast, but, Rajib has cast Dev here. While he could have tried to break Dev’s image to suit the character, but he actually presents the character as a macho man to suit Dev. And so, what we get is a hotch-potch of Dev from ”I love you” and Dev from “Challenge”.
While Dev provides nothing new to appreciate, Shrabanti’s character is not properly established and the character loses significance as the movie goes all-out on action. Among the supporting actors,only Seema Biswas does an impressive job of playing this loud character of Shrabanti’s pishi. Arijit Dutta’s villain is clichéd. Jeet Ganguly, the music director, impresses. ”Rama Ho” and the title track are groovy. Manoj Sharma’s cinematography is plaudible, but, despite all talks of digital intermediate, the final outcome is little impressive.
Riding on star power of Dev and the holidays up ahead, this movie might sustain, but this is certainly not a film,worth its budget and hype.
My rating: 2/5
dujone_Dev and Shrabanti
Cast : Dev,Shrabanti,Seema biswas(Bandit Queen fame),Debesh roychowdhury,Arun banerjee
Director: Rajiv(Shrabanti’s husband)
Producer: Ashok Dhanuka
Story: Maloy Banerjee
Music: Jeet Ganguly
Editing: Rabi Ranjan moitra
Update: August 6, 2009: Himangshu Dhanuka has sent us first Look Poster for the movie. Check out the Dujone Posters and watch the Teaser trailer of Bengali Film Dujone:
Share your comment about how do you feel about the Dev-Shrabanti coupling?
I think Shrabanti is pretty cute looking and little more matured than many other Tolly actresses. I am hoping to get more stills, videos and information soon about the movie.
Related Posts:
* LEY CHAKKA (2010) Bengali Movie Review
* Dui Prithibi Bengali Movie By Raj Chakraborty starring Dev, Jeet and Koel Mullick
* Bengali Movie star DEV playing charecter role in LE CHAKKA
* BOLONA TUMI AMAAR 2010 Bengali movie-DEV’S SHOW ALL THE WAY
* Best Rising STAR-DEV-Tollywood Hero.
Cinema: Pream AmarCast: Soham, Payel
Director: Raj Chakraborty
Music Director: Jeet Ganguly
Lyric: Priyo Chattopadhyay, Gautam Susmit
Produced by: Shree Venkatesh Films
Video Songs Format: FLV
01 . Ku Ku Ru Ku http://watch2online.blogspot.com
02 . Prem Amar http://watch2online.blogspot.com
03 . Jagere jage http://watch2online.blogspot.com
04 . Uru Uru Swapne Ek Rajkanye http://watch2online.blogspot.com
05 . Bojhena Se Bojhena http://watch2online.blogspot.com
Prem Amar (2009)-Bengali Movie Review-Preview-First Look
Prem Amar is a 2009 Bengali Film by Raj Chakraborty, famous for Chirodini Tumi Je Amar and Challenge. Soham and Payel has come together in a romantic love story. Read Review, interviews, watch trailer, stills and ratings of the Bengali Film.
Review 2: PREM AMAR – UNABASHED ENTERTAINMENT
- Banner: Shree Venkatesh Films
- Direction: Raj Chakraborty
- Screenplay: Abhimanyu
- Music: Jeet Ganguly
- Lyrics: Priyo Chattopadhyay, Gautam Susmit and Anindo
- DOC: Kumud Verma (Mumbai) and Somak Mukherjee (Ladakh)
- Editor: Rabi Ranjan Maitra
- Cast: Soham Chakraborty, Payal Sarkar, Laboni Sarkar, Biswajit Chakraborty, Supriyo Dutta and others
- Date of Release: October 9, 2009
- Rating: 7/10.
Shree Venkatesh Films armed themselves with the legal copyright of a 2004 Tamil and Telugu. The result is Prem Amar. 9/G Rainbow Colony was simultaneously released in Telugu as 9G Brindhavan Colony. Both were thumping hits. Prem Amar is an exact copy of the original story, characterization and chronological narrative. Yet Raj, with his clever sleight of hand – meaning language, culture, lifestyle and treatment, has turned it into a Bengali film. This ingenuity marks him apart from other mainstream directors following the same ‘South Indian copy’ routine but without the same commercial impact.
Robi is a wayward, street side loafer whose father has written him off as a no-good waster. But Robi sticks his thumb at his condemning father and goes about roaming with his cronies, threatening old people in queues in the milk depot, raising hell in a cinema hall, teasing young girls, and drinking and smoking away to his heart’s content. He flunks his board exams once again and walks out of his home only to sleep on the roof with his galaxy of no-good friends.
Raj and his technical team, that includes the cameraman, the dialogue writer, the production designer, the music director and the lyrics writers, have left no stone unturned to reveal the underbelly of low-middle-class colonies in Kolkata complete with Rabi’s waster friends whose language is uncouth and spills over with cuss words, the opening song belted out with dregs of country liquor, the bus-stop where Robi waits to stare at Ria, the works. Everything changes when the pretty, classy, sophisticated and dignified Ria moves into the same dilapidated building where Robi stays. She belongs to a class much higher than Robi but the family had to move in because of the financial collapse of the family.
Prem Amaar Payel Sarkar
Soham Chakraborty as Robi and Payel Sarkar as Ria sparkle with the freshness of youth, vigour, energy and their magic chemistry. Yet, they are so different. The supporting characters have complemented them ably. The family scenes in both homes, shorn of cinematic frills and soppy sentiment, are drawn out very well. Jeet Ganguly’s music and lyrics by the trio of Priyo Chattopadhyay, Gautam Susmit and Anindyo define another character in the film with the nine song tracks vibrating through the cinematic space. The choreography and scripting of the opening song is second only to the lovely Jaagorey number by Anindyo.
The rest of the film is about how Robi tries to chase and woo Ria in his crude, coarse way and how the initially disgusted Ria who even throws up when she realises she has touched him without knowing, begins to respond. She warns that he will have to change himself if he wants to marry her. Robi gives up on academics but Ria hits on his command over the mechanics of two-wheelers. Robi lands a job in a garage and hands over his first pay-cheque to his father. But Ria knows that she can never marry Robi because the her family’s survival depends on her marriage to Rajeev. So what does she do? She decides to consummate their love and runs away to a guest house to make love to him. In a beautifully choreographed scene shot on the double bed of a guest house, the two make love, off-screen. “Today, we will only talk and share time with each other and tomorrow, we will go our different ways. I want you to live with the memory of this night,” she tells him. The next morning, as the two get into a heated argument, Ria rushes out to the streets, gets run over and is crushed to death. Robi tries to commit suicide, but realises that he will have to live on with his memories of Ria. The aggressive sexuality of a restrained, subdued young girl peels off the hypocrisy of Bengali middle-class morality for good. Ria has outstripped Robi in this low-key, underplayed scene.
So what’s wrong about the film? It is too long and drags the climax till it loses all sense of logic. The dream scenes in Ladakh are expendable. The violence in two scenes, the one where Rajeev’s hired goons bash up Robi in broad daylight on the street and again, when mobs gather to beat him up in the climax for holding up the traffic go over the board. The editing, with due respects to the talent of Rabi Ranjan Maitra, is surprisingly patchy at places where he allows the moon to divide two shots, or uses a sunrise perhaps. The background score is a bit too loud. The ghost touch just does not belong and the end is inconclusive. Otherwise, Prem Amar should mark Raj Chakraborty’s hat-trick in hits. Watch it for the unadulterated entertainment it offers.
Review 1: Prem Amar Bengali Movie
Story: Rabi (Soham), the protagonist, lives in a railway colony. His life is all about fooling around with friends, teasing girls , smoking or getting drunk at night. He has already failed four times in H.S. examination and he does not even think of career. At this juncture,a girl Ria (Payel)comes to live in his colony and rabi falls head-over-heels on her. But, Ria’s parents want her to marry family friend Rajib,who also financially support their family. Although Ria ignores Rabi at first, but soon they become good friends. She motivates him to change his lifestyle and gets him a job too. But, Ria’s family
stands against this relationship. Against all odds, one night, Ria and Rabi meet and spend together. In the morning, Ria aanounces she will marry Rajib to support her family. This leads to a quarrel, Ria departs but faces an accident and dies while Rabi gets injured.After recovering, Rabi tries to kill himself but Ria’s soul makes him realize the need for him to glorify their love.
The first hour or so of the movie completely blows you away as director Raj Chakraborty brings out the true features of colony life to reel, you relate to Rabi and his friends instantly,laugh at their antics and Rabi’s efforts to impress Ria. Abhimanyu’s script (with punch of sex comedy) and the song ”Ku ru ku ku” ably support the flambuoyant direction. But,once the story drifts from comedy to serious tone, you find the magic wearing off ,your patience tested, the script slackens and the sequences start becoming unrealistic. The end is heart-touching, but one can’t shove off this feeling that the ending
is forced, and does not go with the script at all.
About the performances, Soham is convincing as Rabi, though his voice is a big drawback. Also, he needs to work on the emotional scenes. Payel ,however, fails to impress, most of the times, she remains expressionless and never relly gets to the skin of the character. The rest of the cast play their roles convincingly. Jeet Ganguly seems to preserve his best for Raj Chakraborty, the tracks are full of variety and well placed. The cinematography deserves special mention, specially for portraying Ladakh as never seen before. No doubt, this movie is Raj Chakraborty’s movie-from the light-hearted beginning to signature tragic end, and though I would give Chirodini more marks,Prem Amar surely is no-nonsense movie.
Read the Exclusive interview with Rah Chakraborty about the film “Prem Amar”
Coming up Exclusive interview with both Soham and Payel from Xaviers Colleage shooting spot!
Related Posts:
* Bengali Movie Release-October 9, 2009-Prem Aamar
* Kichhu Chaoa Kichhu Paoa (2010) Bengali Movie Review
* Rahasya (2009) Bengali Movie Review
* Jeena (2009) Bengali Movie Review
* Payel-Tollywood Kolkata Actress Talks about Prem Amar
Cinema : WantedRelease Year : 2010Cast: Jeet , Srabanti
Music : Rajesh Roy
Director : Rabi Kinagi
Songs List Watch Online
Click Hear
Wanted is the excellent comeback Bengali film for Jeet who plays a contract killer in the movie. WANTED is directed by Ravi Kinagi and Srabonti plays the female lead. Read the exclusive review of WANTED.
The film opens on a crowded street of Kolkata teeming with ordinary people jostling against each other. Two well-dressed men walk down. A woman asks the man accompanying her if she can buy some bangles. As she bargains with the bangle-seller, one of the two men walks forward silently, stabs him and walks quietly away. Raja is a contract killer. His next target is to the opposition leader who is to address a pre-election meeting. But he must not shoot to kill. The shooting is to attract sympathy votes so that the target can become the next CM. The hired assassin misses his target and the leader falls dead. The surprised sharp shooter, who has never missed a target in his life, makes a run for it, with the police hot on his chase.
This sets the mood of Ravi Kinagi’s Wanted that marks the electrifying comeback of Jeet who portrays the contract killer. The audience learns Raja’s name halfway through the film because he has by then, been mistaken for Shibu, his fellow-passenger who the police hit instead of Raja who was their target. Shibu was coming back home after 12 years to his grandfather and family. When Raja goes to inform the family about his tragic death, they mistake him for Shibu. The book of Raja’s life opens a fresh chapter. This includes Shibu’s fiancée Pooja (Srabonti) who tries her best to woo ‘Shibu’ in vain.
Wanted Jeet - Bengali Superstar
From the opening frames till the time Raja surrenders to the persuasive strategies of the naïve and beautiful Pooja, Wanted is straight out of any Bollywood action film – dynamic, filled with suspense, driven by the hesitation of the aloof and alone Raja who is constantly pulled between the two extremes of slipping into the dead Shibu’s shoes and his contract killer identity. The police that now include the lecherous but persistent CBI officer Selim Ali (Sharad Kapoor) and his team are still hot on his trail. The sections that cover Selim Ali’s chase have touches of tongue-in-cheek humour he spikes with his lecherous advances to anything in a skirt or sari from a housemaid to a photograph. Good touch that.
Once Wanted enters into the family fold of Siddhartha, Shibu’s affluent grandfather (Biswajit Chakraborty), it slowly and steadily turns into a soppy, syrupy and sentimental family melodrama that constantly brings back bejewelled, ornamental and lavishly-mounted images from the K-serials on television. The relief in this monotonous droll comes in the shape of the fights between Raja and the gang of goons sent by the local self-appointed mafia lord. The action scenes are orchestrated with professional expertise and shot well, offering a welcome change from soaked-in-glycerine scenes of ‘mother-son’ reunions, a disgustingly precocious kid, a weepy daughter resisting lavish expenses on her impending marriage, two ghar jamais presenting two facets of the ghar-jamai community and so on and so forth.
Jeet and Srabonti
Raja’s contract killer identity is given a generous coating of white paint with his sometimes hidden and sometimes open generosity. It does not occur to the scrupulously honest grandfather to ask him where he got so much loolah from. The bank manager coolly allows a huge cheque to be encashed without even looking at the signature or asking for the account holder’s PAN-card number! Selim Ali’s pointing this out later does not undercut this unpardonable exaggeration of the unreal.
Wanted is thrilling till Raja comes to Shibu’s house. After that, it begins its downward slide to pick up a bit towards the end when Raja chases the real killer who shot down the leader to absolve himself of a crime he did not commit. Selim Ali allows him to go back to his adoptive family because ‘you are Shibu now so go back to Shibu’s family.’ Thanks to Kinagi for sparing us the mandatory group photograph that would have spoilt the entire effect he built up so carefully over most of the film.
Wanted is Ravi Kinagi’s promise to give Jeet his ranking back in Bengali cinema. Wanted presents Jeet in an author-backed role in a new persona. His look is new, his screen image carries a rare appeal and his performance is mind-blowing. He spikes his performance with long phases of silence, moments of hesitation before he begins to give in to the emotional overtures of his adoptive family, trying to stay away from Pooja’s naïve wiles, etc. In short, no one has seen Jeet on screen in this avatar ever before. His dialogue is kept to a minimum and this enhances the power of a contract killer’s character. Sharad Kapoor for some mysterious reason, wears a different monkey cap in every scene and this takes away from his smashing looks a bit. He delivers his dialogue in a longish drawl perhaps to avoid errors in his Bengali enunciation. Indrajeet as Raja’s double-crossing ally does very well in a brief cameo. Srabonti does not have much scope except looking beautiful in ethnic designer costumes that do not belong to a Bengali small-town home where all other women are sari-wearing. But she does justice to the teasing scenes with Jeet. Aritra Dutta Banik as the precocious kid, that he always is, should stop films and go back to school. Rajesh Roy’s musical score is quite impressive barring the two songs shot in foreign locales (Bangkok?) that somehow do not go with Raja’s character in both his personas. The soundtrack gets louder towards the end, drowning much of the dialogue.
Jeet will hopefully silence his critics and his audience with his brilliant performance in Wanted. The slick production values should scale up its box office ratings. But one still desperately wishes that the chase had gone on and not stopped with a family ‘function’ and the end had been a little less of willful suspension of reality. Wanted deserves a rating of six on ten.
By Shoma A. Chatterji
Movie : Mon Je Kore Uru UruDirector : Sujit Guha
Producer : Surinder Films
Cast : Hiran, Koel
Music : Jeet Ganguly
Singers : Kunal Ganjawala, Jun Banerjee, Shreya Ghoshal,Sovon Chakroborty, Rana Mazumdar, Zubeen Garg, Jeet Ganguly, Monali Thakur
Release year : 2010
Songs List Watch Online:
01. Mon Je Kore Uru Uru_Title Track Kunal Ganjawala & Jun Banerjee
02. O Mon Pakhi Shreya Ghoshal, Sovon Chakroborty & Rana Mazumder
03. Tor Pirite (Zubeen Garg)
Up-and-coming young lover boy Hiran who did not have any work last year because he was laid down with a bad shoulder injury is back in harness with Koel Mullick in a new film Mon Je Kore Uru Uru. It may be recalled that he made his debut opposite Koel in Nabab Nandini a few years ago and became a hit with producers and directors of Bengali mainstream cinema. “I have been away from the scene for a long time indeed. I am looking forward to his film very eagerly. I have a very good comfort level with Koel as we have acted together in three films. Following Nabab Nandini, we did Jackpot and Chirosathi together,” said a thrilled Hiron. He also launched his website before the injury. Mon Je Uru Uru is a love story laced with twists and turns – one need not say more. The romantic leads are college peers so one can guess the rest of the story. Sujit Guha is directing the film. “We plan to shoot some song sequences in Dubai and then shoot in Kolkata. Hiran wanted to do a film with me as director. He has given hits before so we felt we could cast him. I have given him a different look for the film and asked him to work on his body,” said Surinder Pal Singh of Surinder Films that is producing Mon Je Kore Uru Uru.
Related Posts:
* Chirosathi (2008)
* CHORER BOU (2010) Bengali Film FIRST LOOK starring Rituparna Sengupta
* BRITTO (2010) Bengali Film FIRST LOOK-Saswata Chatterjee leads
* Kakhono Biday Bolo Na (2010) Bengali Film FIRST LOOK
* Laboratory (2010) Bengali Film FIRST LOOK by RAJA SEN
Movie: Due Prithibi (2010)Director: Raj Chakraborty
Starring: Jeet, Koel, Dev & other
Music: Jeet Ganguly
Presented: Shrikant Mohta
Produced: Shree Venkatesh Films
Free Movie Songs Download
List Of Songs Wach Online:
01. It's Only Pyaar by Kunal Ganjawala & Monali Thakur
02. O Yaara Vey by Bony Chakraborty, Kunal Ganjawala, Monali Thakur & June Banerjee
03. Pyarelal by Richa Sharma & Anand Raj Anand
04. Bol Na Aar by Shaan & Monali Thakur
05. Dui Prithibi_Title Track by Timir & Rana Majumdar
Kolkata, September 11, 2010 (Calcutta Tube): DUI PRITHIBI is an upcoming Bengali movie starring JEET, DEV and KOEL MULLICK directed by Raj Chakraborty, the blockbuster filmmaker. Whichever filmy project Raj Chakraborty has touched, box office rendered exceptional blessings. KOEL is no doubt at the peak of her career which JEET has give quite a remarkable performance this year already. DEV is the biggest craze in Bengal. JEET-KOEL-DEV are coming together for the first time in a movie while Barkha Bisht looks hot. DUI PRITIBI seems all set for another blockbuster releasing during Durga Puja season 2010. synopsis
Dui Prithibi, A story of a filthy rich guy who falls in love with an idealistic medical student who has her own social beliefs. This rich guy is selfishly in love with this girl with the sole intention of getting her love and not her noble social beliefs or traits, and believing in only himself. In the process they are separated by circumstances. How he sets out to locate her on a road trip wherein he meets his true friend in the form of a thief and in the process discovers the true meaning of love and compassion.
Cast and Crew Jeet. Dev. Koel. Barkha Bisht
Movie Details
- Title DUI PRITHIBI
- Production House SHREE VENKATESH FILMS.
- Producer Mr SHRIKANT MOHTA and MAHENDRA SONI.
- Director Raj Chakraborty.
- Music Director Jeet Ganguly.
- Lyricist 1 Samidh Lyricist 2 Prasun Lyricist 3 Prosen
Date of Release Releasing in Pujas.
Exclusive Movie Stills from DUI PRITHIBI.
-
- Barkha Bisht in Dui Prithibi
-
Barkha Bisht in Dui Prithibi Bengali Film
-
DEV in Dui Prithibi
-
DUI PRITHIBI Bengali Film
-
- Dui Prithibi Movie still
-
Dui Prithibi Movie still -Dev Jeet -
-
Dui Prithibi Movie still -Dev Jeet Raj Chakraborty
-
Dui Prithibi shoot in Italy
* DUI PRITHIBI (2010) Bengali Film Review: Jeet-Koel-Dev-Barkha
* Raj Chakraborty’s Dui Prithibi stars Deb and Jeet together
* Dui Prithibi Bengali Movie By Raj Chakraborty starring Dev, Jeet and Koel Mullick
* Katha Kahini-Reality Show for STAR JALSA-Koel Mullick as Anchor
* BOLONA TUMI AMAAR 2010 Bengali movie-DEV’S SHOW ALL THE WAY
Film: Le ChhakkaDirector: Raj Chakraborty
Producer : Srijon
Story : Padmanava Dasgupta
Music : Indradip Dasgupta
Singer: Shaan, Kunal Gaanjawala, Shreya Ghoshal, Munali, June
Lyrics : Priyo Chottopadhay,Srijato,Prosenjit
Free Bengali Movie Songs Download
List Of All Songs Watch online
01. Ley Chhakka 02. Ali Maula
03. Ekta Bindass Para 04. Shaba Rabba
05. Ua Ua ee
Ley Chakka Critic’s Review
Cricket as a unifying factor came across in Lagaan ideally. Winning at cricket was the main stake between the illiterate, rustic, but honest and determined team led by Bhuvan and the brutal, dictatorial megalomaniac British officer Andrew Russell and his expert team. For Bhuvan and his team, the match was the only way to evade the heavy burden of tax levied on the draught-ridden village of Champaner in Central India during the Victorian period. For Russell, it was a question of a sure win of the superior ‘Colonising Whites’ over the weaker ‘Colonised Blacks’. It was an ego thing where the winning was taken for granted. Lagaan was a commercial film gift-wrapped, packaged and presented like a Powerpoint Presentation at an international management seminar on cricket or any other team sport. It was spiked with romance, villainy, racism, anti-racism, competition, brotherhood and democratic harmony with music, costumes, production design and dances. It remains one of the most memorable ‘period’ films using cricket as the main theme.
Ley Chakka Dev and Payel Poster
Bengali Film Review: LEY CHAKKA – NOT REALLY CRICKET! LE Chakka is a 2010 Bengali Movie directed by blockbuster-maker Raj Chakraborty starring smashing superstar DEV and Tollywood beauty Payel. Check out the Exclusive CalcuttaTube review of the movie and add your comments.
Cast and Crew
- Banner: Srijan Arts
- Producer: Shyam Agarwal
- Direction: Raj Chakraborty
- Music: Indradeep Dasgupta
- Story: Padmanabha Dasgupta
- D.O.P.: Somak Mukherjee
- Editor: Rabi Ranjan Maitra
- Fight Master: Judo Ramu
- Choreographer: D.Sankaraiyya
- Cast: Dev, Payel Sarkar, Dipankar De, Laboni Sarkar, Biswajit Chakraborty, Supriyo Dutta, Ritwik Chakraborty, Anindyo Banerjee, Aritro, Debjani Chatterjee, Biswanath Bose, Kharaj Mukherjee, Arindam Dutta
- Date of release: June 11, 2010
- Rating:5/10
Para cricket for the residents of Dorji Para in the north is a culture unto itself that has survived the ravages of high-rises and shopping malls and multiplex theatres. It is a lifestyle supported and partly funded by the head of the Choudhuri family (Dipankar De), the patriarchal head who lives in the mansion facing the promoter-politician’s axe. The game is an excuse for friendship that crosses barriers of class, caste, community and profession. It is a plea to remain together, mostly unemployed, and gossip and play cricket not to win or lose but for the light it brings into their rather dark lives.
But the politician will not let them be. He keeps packing his goons to scare off the residents. When things get too hot, and the ‘pitch’ on which they play stands threatened by a ‘memorial’, Abir gives the goons a chase till they scoot off to temporary relief. The politician gives Choudhuri an ultimatum. Abir throws the gauntlet – Eleven Bullets will play a cricket match against whichever team the politician chooses to represent his side. If Eleven Bullets wins, the politician will never harass them again. If Eleven Bullets loses, all residents will clear Dorji Para and leave it to the politician. One need not spit out the boring details of a very amateurish but predictable climax. The team, low on practice and self-esteem and high on fun ends up winning. Rabi Ranjan Maitra’s intelligent editing saves the climactic scenes of the final cricket match from appearing like a jigsaw puzzle gone wrong. Indradeep Dasgupta’s musical score is mesmerising specially the Sufi number Maula Maula which however, does not belong to the film at all. The two songs picturised in Sri Lanka locations are also good but the setting is all wrong. Somak Mukherjee’s camera captures the north Kolkata skyline with its terraces overseen from atop a high-rise under construction beautifully. He also does justice to the interiors of the Choudhuri mansion, the gullies and bylanes of Dorji Para, the action scenes and the chases on fast track. One wishes the characters got his equal attention.
Ley Chakka Dev and Company
Debjani Chatterjee puts in a beautiful performance as the sex-hungry Ratna, Rani’s older sister. The script rightly skims over the tragedy of her suicide to sustain the fun mood. Payal as Rani is good but needed to tone down on the loud and shrill part in the beginning. The film holds itself mainly on the strength of the lovely romance between Abir and Rani while the spirit of the cricketers is marginalised because the weak script paints the members more like junior artistes graced with a few lines than the important characters they are. Dev is screen presence personified but he should not grimace so hard in the close-ups because the camera becomes unkind to him. He relies more on his body than on his face.
The most crippling part of the story and screenplay is the extremely biased approach towards showing the residents of Dorji Para as cowards and escapists and juxtaposing this against the sole representative from the south – the muscle-flexing Abir who is Rocky, Superman and Arnold Schwarzenegger all rolled into one. The real life residents of Dorji Para and the north will not be happy at all. Le Chakka, all said and done, lacks the magic of Raj Chakraborty’s earlier box office hits.
I would resist from giving it a rating of more than five on ten.
By: Shoma A. Chatterji
Ley Chakka Film Gallery
-
- Le Chakka Dev and Group-Bengali Film
-
- Ley Chakka Dev and Company
-
- Ley Chakka Dev and Payel Poster
-
- Ley Chhakka Dev and Payal Sirkar -Romantic Couple
Cast : Prosenjit Chatterjee, Nandana Sen, Indraneil Sengupta,Rudra Prasad Sengupta, Piyush Ganguly etc.
DOP : Soumik Halder
Music : Debojyoti Mishra & Anupam Roy
Singers : Rupam Islam, Shreya Ghoshal, Shankar Mahadevan,
Anandee Basu, Saptarshi Mukherjee, Priyam Mukherjee, Anupam Roy
Watch Online To- Click Hear
Part 1 ------------- Part 2
October 18, 2010, KOLKATA (Calcutta Tube): AUTOGRAPH is a 2010 Bengali Film starring Prosenjit, Indraneel Sengupta, Nandana Sen in lead roles directed by Srijit Mukherjee. A must watch film that would touch your heart and soul.
Cast and Crew:
* Banner: Shree Venkatesh Films in Association with Cinergy
* Written and Directed by: Srijit Mukherjee
* D.O.P. Soumik Haldar
* Music: Debojyoti Misra
* Lyrics: Anupam Roy, Srijato and Srijit Mukherjee
* Editing: Bodhaditya Banerjee
* Cast: Rudraprasad Sengupta, Biswajeet Chakraborty, Prosenjit, Indraneel Sengupta, Nandana Sen, Pijush Ganguly, Dwijen Banerjee, Dhruv Mookerji, Sohini Pal and others
* Date of release: October 14, 2010
* Rating: 7/10
Review: AUTOGRAPH – IMPRESSIVE DEBUT
- Prosenjit Chatterjee
Autograph is not about the world of films. It is not about the struggles, the pains and the vainness of the reigning superstar of Bengali cinema Arun Chatterjee (Prosenjit). It is about the pressures that bear down upon the people involved in the entire process of filmmaking. It is about how relationships within the narrow confines of film-making created out of professional and creative necessity mutate in ways so radical that the subjects involved are not even aware till it is too late. It is about how the media can create a character that does not exist simply by weaving a spidery and colorful web of attractive lies around a superstar celebrity, passing judgement on him and painting him in colors closer to black which could be both untrue and unfair. Arun Chatterjee, the man behind the make-up and the costume and away from the movie camera, is not really the Arun Chatterjee the superstar the media has created. The pressures that bear on the star – the uncertainty of the box office success of three successive films, or, the arrogance that comes of the knowledge that his name in the credits makes all the difference between a hit and a flop, are interwoven into the inner journey of Arun Chatterjee who discovers unknown facets of himself as work on Aajker Nayak, that of a superstar in a new director’s first film begins.
Autograph is a celluloid statement on a superstar’s emotional isolation and professional anxiety. It is also a comment on the fickle pretensions of the so-called, uncompromising filmmaker Shuvobrata Mitra (Indraneel Sengupta) and the innocence of Srinandita (Nandana Sen), a theatre actress who remains completely ignorant about the manipulations the new director, her live-in boyfriend is capable of just to plug his film before its release. It offers insightful bytes into filmmaking/film-acting as choreographed on film, through carefully choreographed mise-en-scene, through imaginatively lit production design where the entire backdrop, plus the music and the sound motifs form a part of the cast and, through metaphorical music, matter-of-fact, no-nonsense dialogue with elaborately designed pauses and eloquent silences.
There are the typical stereotypes – the arrogant producer of mainstream films who misspells his first name like a fashion statement; the theatre director who has a very poor notion about film acting; the superstar’s friend who is always around him but living off his stardom and the associated fringe benefits that come along; the self-appointed hanger-on astrologer who keeps insisting that the star’s “stars are not quite good,” and so on.
- Nandana Sen
The transformations within the three characters and their relationships are shown through small scenes. Shubhobrata’s growing rudeness towards the production man he was so soft to in the beginning; his cold treatment of his friend and his wife who drop in on the sets unannounced; his open rebuking of his heroine for not being able to deliver after repeated takes; his peeping from behind the curtain to watch the superstar convince her to produce the right emotional response, then, instead of being hurt, his asking the camera to start rolling. He feigns anger and hurt when Srinandita comes home very late after a dinner date with her hero. He takes her on a long boat ride on the river purportedly to get together again but really to spill the beans about how he has ensured a guaranteed full house for his first film. Nandana and Indraneel have done very well indeed but Srinandita’s character needed some more exploration. The scene in which she weeps bitterly inside the cab as she moves out is touching. The affluence of the lovers’ lifestyle fails to convince.
Prosenjit lives his part as Arun Chatterjee the superstar, Arun Chatterjee, the hero of the film-within-the-film Aajker Nayak and Arun Chatterjee, the ordinary man who finds that his celebrity status has stripped him of the freedom to express his feelings for a girl he has begun to care for. Betrayed and lost, he sits alone in his spacious apartment and plays chess with himself to purge him of the shock of betrayal. He often breaks the diegetic space between the audience and himself by looking straight into the camera, defining the vainness of a superstar, distanced from the superstar Arindam Mukherjee in Ray’s Nayak of 1966. He is shown to be a man with not a very glorious past that has its own stories of exploitation and betrayal. But his present is whitewashed and starched and ironed to present a picture that, in the final analysis, appears to stretch his goodness a bit too far. Prosenjit has outperformed himself in this film.
Debajyoti Mishra’s music and the lyrics of the beautiful song-tracks add a different dimension to the film. Memorable are amaake amaar moto thaakte dao, benche thakar gaan, Chol rastaaye besides bhaag jana hai kahan in Hindi. The lyrics, imaginatively put together by Sreejato, Srijit and Anupam Roy and the music live out the spirit of the film and reach beyond the confines of their celluloid existence and sustenance.
Shoumik Haldar’s camera is perfect chemistry for the story he captures on his camera – closing in on the swift changes in the facial expressions of the hero, the medium shots of Srinandita teaching her boyfriend how to use chopsticks, or getting into cushion fights, or, sharing in the gay camaraderie of lovers. The scenes showing Srinandita in semi-silhouette waiting at the station for the train to take her to some unknown destination as the camera cuts to close in on the bound script of the film she has left behind on a bench are moving. The flux in the relationship is in direct contrast with the lovey-dovey togetherness of the married couple enacted sparklingly by Sohini Pal and Dhruv Mookerji. The nightmare scene captured in diffused shots with white-cloaked ghosts from Arun’s past gliding away in silence as if in limbo is another masterful stroke. Arun’s captivity within his synthetic image is tellingly depicted through the massive sketches and portraits that surround the walls of his flat. Beautiful top-angle shots taken from a long distance show the hero driving along a national highway, the lights flashing along the way dotting the darkness of the night. A bunch of white pigeons in flight pass across in the other direction, one after another, of their own volition, free from the trappings the hero is bound by.
A teenaged dhaba boy somewhere away from the city asks top star Arun Chatterjee for an autograph when the star drops by to pay the boy his unpaid bill. The boy does not have an autograph book. So he rushes into the eatery and runs back with a paper napkin. The smiling star signs the napkin, presses the currency note the boy was returning into his palm and drives away into the nothingness of his lonely, isolated world. It marks a fitting end to a film that is a tribute to Satyajit Ray’s Nayak (1966.) This is the last scene of Srijit Mukherjee’s directorial debut Autograph.
