Story: Sales executive Nirmal Dutta and aspiring filmmaker Saptarshi Roy share a compartment during a train journey. To pass time, Nirmal narrates to Saptarshi four self-written stories, which the latter can relate to.
Review: Char Diker Galpo is a potpourri of nice, relatable tales, but it’s the acting by a few and the sequence of the stories that lets it down. The first tale, of a talented sculptor/idol maker, is interesting but marred by poor acting. Bishwajit, who plays the village purohit, is the one who stands out in this rural tale that highlights how underdogs, despite being talented, often get sidelined in the bigger scheme of things. But certain aspects of the tale, especially that of the artisan keeping his just-finished idol near the village pond, are vague at best. Why would a man, who ekes out a living selling the idols he makes, leave his best creation unattended and out in the open? Moreover, the time shown between the discovery of the idol and its pratishtha in a newly-built temple is confusing. That would take at least a week, so why doesn’t the artisan know anything about where his idol went even after that period?
The second tale — about the compromises we make in life — is a better watch. The compromises all the primary characters make to make a living are quite relatable. Anindya is good, but the role doesn’t demand anything out of the ordinary.
The third, which is again a rural tale of hope and despair, is the one that didn’t manage to impress at all. Even the underlying emotions are vague and the performances are just above average. The fourth tale is perhaps the most endearing of all. It traces a few days in the life of a struggling actor. The director manages to play with the audience’s emotions, making us expect him to try and take advantage of the simple village girl. But the story surprises us with its inherent goodness.
As for the narrator and the listener, their roles are too short to be weighed for quality.
Overall, Char Diker Galpo is a one-time watch at best.