Despite having a ready-made storyline, this poignant tale of love is not really easy on the eye simply because of its treatment.
There's nothing's better than getting to see your favourite piece of literature making it to the silver screen. This time around, director duo Soumya and Supriya has tried their hands at adapting one of Browning's poems for their latest offing. With an intriguing subject like that,
Ei Raat Tomaar Amar
had all the ingredients of a good film. But, alas, a poor script coupled with corny dialogues spoil it all! And that too, to such an extent that even a tub of popcorn can't save you from the torture.
Despite having a ready-made storyline, this poignant tale of love is not really easy on the eye simply because of its treatment. The plot oscillates to and fro, as the viewers get a glimpse of Arya and Nibedita's childhood and adolescence. Sadly, the young artistes disappoint big time on screen. As for editing, the less said the better. Several shots used repeatedly — in the name of nostalgia — up the boredom quotient. Agreed, there are audiences who would perhaps go to a theatre only to watch a bed scene or the actors kissing. But c'mon, how many times can one tolerate the glycerine-laden, red-eyed heroine pleading, "Arya, aamake nao shona. Aamake nao..."
Sometimes, the logic begins to falter. We wonder why would the couple simply give in to the pressures without even fighting for their love — especially when the man can still paint well and is capable of maintaining a decent lifestyle. No offense meant, but the way Arya keeps limping around in the house is far from convincing. Priyanshu's brooding eyes suit the character. Overall, Meghna is just about okay. However, a sheer lack of chemistry between the two makes matters worse.
The peripheral actors — Saswati Guha Thakurta, Tamal Majumdar, Pulokita Ghosh et al — add to the plight with their over-the-top performances.
While the first half has way too many songs, the second half overdoses on emotions. How can we forget the forcefully-introduced item number, with dancers shaking a leg to Sohag chand bodoni dhoni nacho toh dekhi... One actor, who also features in this song, deserves a special mention. Subhasish Mukherjee aka Bablu — Arya's cook-cum-servant-cum-caretaker — brings in the much-required comic relief to this otherwise tacky production.
The climax is perhaps one of the few better scenes, shot with some amount of passion. Need we say more?