Kolkata, 18 Jun 2018 8:42 IST
The most common motifs important for a film made for the masses — romance, action, comedy, enmity and a bit of moral preaching with emotional overdose — are also generously used in the film.
Joydeep Mukherjee attempts to deliver a story to be enjoyed with the family in Bhaijaan Elo Re and manages to fulfill his intentions partly. Despite a few entirely absurd elements and the expected predictability, the film has an engaging plot progression.
The recurring twists play integral roles in the story that revolves around estranged twin brothers. Also, the most common motifs important for a film made for the masses — romance, action, comedy, enmity and a bit of moral preaching with emotional overdose — are also generously used in the film.
Bhaijaan Elo Re’s story thrives on the worn out plot of rivalry over property. A mother dies while giving birth to twin brothers and within a few minutes the doctor discovers one of the brothers to be without any pulse as well. A close relative (Rajatabha Dutta) of the devastated father takes hold of the situation and asks the hospital to take charge of the deceased child. Right before the burial, the nurse is shocked to find the child to be alive. At the same time, the Muslim nurse hears an azaan echoing the horizons and hence, she names the child Azaan.
The plot shifts to the inner courtyard of a mansion. A child secretly becomes the witness of the murder of his ill father by his shrewd brother-in-law Sudhir (Shantilal Mukherjee), who eventually catches him and threatens to kill him if he ever discloses the truth. The child is Ujaan, the brother of Azaan. He grows up to become a callous man, threatened and abused by the tyrannical Sudhir Bhai.
As Ujaan is about to turn 28 and inherit the entire property, Sudhir plots to dupe him into signing the entire property to his name and kill him. Ujaan’s sister overhears his plan and helps him escape at night.
Azaan, now a dressmaker, finally receives his ticket to travel to London with his companions Runa (Payel Sarkar) and Bala (Biswanath Basu) and the unit of a film for which he is designing the dresses. Ujaan, too, has a ticket to London as he is supposed to meet his father’s old friend (Rajatabha Dutta) and his daughter Hiya (Srabanti Chatterjee) there along with his family. Needless to say, Ujaan ends up being with the film crew and Azaan bumps into Hiya and her father.
Do the brothers manage to convince their fellow travellers of their true identities or manipulate their confusions based on their identical looks to their own end? Where does destiny take them? Do the two brothers ever unite?
The climax provides answers to all the likely questions, but with a lot of inexplicable turn of events. It’s funny that Ujaan happens to have the flight tickets for the same date as that of Azaan's. What else but dramatic cinema-style coincidence used for progression of plot.
It is also totally nonsensical that Ujaan automatically ends up doing the same physical movements of Azaan, because they are twins; although, Azaan doesn’t seem to do the similar activities of Ujaan.
Bhaijaan Elo Re stands upon some stock black and white characters — villains and benefactors, a pair of simpletons and street-smart brothers and their partners with similar yet bi-polar traits.
The director doesn’t waste time in building up the plot. The villains commit their heinous acts; protagonists fall in love and take revenge without generating unnecessary anticipation. It seems that the director knows the expectations of the audience and he feeds them their own ideas in his own style.
Shakib Khan is as over-dramatic as always in his portrayals of both the characters. He tries to be enigmatic in his avatar of Azaan, but ends up being funny with his erratic dialogue delivery. Also, he doesn’t seem contain his weird physical mannerisms which are quite redundant for his role.
The script anyway doesn’t offer much investment in performances; however, both Srabanti Chatterjee and Payel Sarkar do justice to their roles.
Shantilal Mukherjee suits well in his role as the rugged, ruthless and materialistic villain. Rajatabha Dutta is funny enough while incorporating the exclamatory phrase ‘ki aschoryo’ in every possible sentence and mood. Biswanath Basu is extremely natural in creating a few purely entertaining sequences.
Pele Bhattacharya spares the experience of bearing with the typical and nonsensical punch lines and dialogues of a hero in the film. He uses a few slangs with popular code words without any particular purpose.
The action sequences of the film are not that impressive, however, the cinematography and the editing helps retain the temperament of the story. The songs 'Haati Haati Paye' composed by Dolan Mainak and the title track by Abhijit Bhattacharya stand out irrespective of their contexts. On the other hand, 'Baby Jaan' is nothing, but an average composition with cliched visuals.
The film eventually celebrates the victory of good over evil and glorifies relationships and honest emotions. Also, following a set pattern the film stands for underdogs, without turning out to be overtly melodramatic.
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