Review Bengali

Shesh Theke Shuru review: Jeet's 50th film is predictable yet engaging

Release Date: 05 Jun 2019 / Rated: U / 02hr 20min


Cinestaan Rating

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Roushni Sarkar

Jeet has picked a good script for his fiftieth film by shifting focus from mindless comedy or action flicks and is more restrained here.

Raj Chakraborty’s Shesh Theke Shuru is a well-made film on the age-old storyline of the tragedy of two lovers caught in a bitter family feud.

Chakraborty has put the film together well, retaining some intrigue till the end by revealing only bits and pieces of the twists along the way. But in the end there is nothing much in the content to surprise the viewer.

Jeet is normally cast as an entertainer or an action hero with near-superhuman abilities. However, here his act is more restrained. There are hardly any unnecessary action sequences. The characters in the film have their grey shades, but their equations are not far from reality.

When the flight to London runs into some turbulence, Pujarini (Koel Mallick), a bubbly young woman, panics and instinctively grabs the arm of co-passenger Mahid (Jeet). And thus their acquaintance begins.

Mahid is a gloomy guy. He has moved to London with brother Rifat (Aditya Vikram Sengupta) and friend Jewel to escape some tension in his hometown, Dhaka. But he is under constant surveillance in London as well. Pujarini gradually transforms him and, in his newfound happiness, Mahid proposes to her.

The romance becomes a matter of concern for Mahid’s family in Dhaka and his brother-in-law Rakib arranges for Mahid's return home. Meanwhile, Pujarini discovers she is pregnant, but on Rifat’s insistence she does not tell Mahid who promises to return to her soon, little knowing what Rakib has in store.

In Dhaka, Mahid is forced to get engaged to Farzana (Ritabhari Chakraborty) to resolve a family feud. Mahid disregards the decision but cannot reunite with Pujarini in London. The twists that follow create misunderstandings between the lovers. Pujarini secretly welcomes their child into the world while Farzana gets desperate to win Mahid’s attention.

Basically, the film shows how hatred and anger can make humans bereft of emotion. What is commendable is that director Chakraborty has shown that hatred has no religion. The reason for separating Mahid and Pujarini is not their religious differences but the conflict between two families of the same religion and the struggle for power that destroys everything.

Destiny also plays a big role in the plot. Two individuals from different countries meet accidentally and fall in love. But destiny continues to fool around. A victim of circumstances, Mahid remains in pain. Pujarini sees rays of hope at different points, only to have them extinguished. And Farzana is trapped in a bond that she can neither associate with nor detach herself from.

Logic or unpredictability isn't the film's strong suit. Pujarini’s father’s aversion to her after learning of her pregnancy is predictable, just like his change of heart when the baby is born. Pujarini not raising a question about armed men all around her new home with Mahid also doesn’t make sense.

Jeet’s restrained act helps to establish the storyline, though he is not at his most expressive. But he does seem too well dressed all the time. Koel Mallick starts off over the top, and not just literally, but gradually gets into the character and manages to portray her restlessness and the inner conflict between loving and hating Mahid.

Ritabhari Chakraborty is decent as Farzana, hungry for love and attention. She manages to appear evil without meaning to. However, her Dhakaiya Bangla accent sounds superficial.

Aditya Vikram Sengupta has delivered a smooth screenplay and his act as Rifat is convincing. Rakib is pure evil. Moreover, the actor playing him has commanding screen presence.

Manas Ganguly captures the romantic sequences between Mahid and Pujarini with a lot of soul. The chase sequence involving Rakib and Mahid is also conceived with finesse. Mohammed Kalam deserves credit for lending the film an engaging pace.

Amit Sreshtha’s background score synchronizes well with the moods of the various sequences in the film. Arko Pravo Mukherjee’s 'Allah Amar' song alleviates the remorse of both Mahid and Pujarini; but neither this song nor 'Mon Amar' is too impressive in terms of melody.

Shesh Theke Shuru is a one-time-watch film for audiences that love to spend their money on emotional love stories and family dramas. Jeet has picked a good script for his fiftieth film by shifting his focus from mindless comedy or action flicks.

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