Camerawork and editing are a bit sloppy but the film scores in its handling the dream sequences
Based on Rabindranath Tagore's short story, Aparichita, Arnab Ghoshal's Dekha, Na Dekhay is an inspiring tale of love and much more. With a story like that the director couldn't have gone wrong. But then, he does. We shall come back to that later.
Pampered to the core, 23-year-old Anupam (Samadarshi) is more like a child than a man of his age. As his friend Harish (Prasun Gayen) puts it, 'Anupam hails from a different era altogether — totally detached and oblivious to other people's struggles'. He doesn't read a newspaper for it carries sad stories. Whether he likes it or not, Anupam is always served a lavish spread for lunch — half of which he wastes. If he happens to go on the terrace, there would be a servant standing in attendance, holding the umbrella for him. Anupam is an obedient son as it is easier that way.
Harish on the other hand, is one smart alec, who can easily make friends. He would often drop in to collect donations from Anupam's uncle (Koushik Banerjee), on the pretext of chatting with his friend.
Though Anupam is smart enough to understand that Harish is actually mocking him, he only smiles. Harish would often talk about girls to tease him, and Anupam would start dreaming. Then the hunt begins for a perfect bride for Anupam. Once again Harish comes to the rescue by suggesting Dr Shambhunath's (Mrinal Mukherjee) daughter for his friend. After a little persuasion, Anupam's uncle approves of the alliance. Anupam is elated. After all, Kalyani (Debasmita) is a sweet girl and also comes from an aristocratic family like him. But Anupam and Kalyani never get to meet each other since Anupam's mother (Laboni Sarkar) dislikes the idea. Finally, the D-Day arrives...
No doubt, adapting Tagore's short story has been a good idea, but where the director disappoints big time is in the film's packaging. The script fails to hold one's attention for long. There's little in terms of good dialogue . The first half is bearable but the second half seems never-ending. The use of Hindi dialogues, though necessary in the second half, is hilarious. The director should have hired a professional for the dubbing.
The dress code is a complete mish-mash, or should we say a mismatch, for the time period depicted in the film. As for performances, Samadarshi, with his long hair and chubby face, suits the character. But his transformation — from being a Mamma's boy to someone who can stand up for himself and protest against what is wrong — post interval is a bit abrupt. Prasun as Harish is perhaps the only one who is a natural.
Debasmita is the weakest link in the entire film. She tries too hard to impress and is conscious in front of the camera. As for her pronunciation, the less said the better. Laboni Sarkar and Koushik Banerjee tend to go a little OTT. Mrinal Mukherjee is decent but what exactly is a veteran actor like Manoj Mitra doing in the film, one wonders. It's sad to see the director's inability to utilize someone of Mitra's calibre.
Camerawork and editing are a bit sloppy but the film scores in its handling the dream sequences. Tagore's songs used in the film are worth a mention.