Siddharta
Siddharta
Directed by Avijit Sinha Roy | Review by Triptayan Chatterjee
A liner and clean storyline telling a universal truth. The liberation of the human being from the bondage according to his will is glittering as the theme of the film SIDDHARTHA. The actual pain of a creative personality in a routine bonded life, taking all risks to get freed and to create something is the universal story of all so-called civilized urban life. SIDDHARTHA has uniquely told that wonderful story. No extravaganza of artificial technical or digital atmosphere in the film, no overacting and no unnecessary cuts for making the film running with high speed has given it a separate dimension. The casual dialogues, staying away far from melodrama has given the film a special flavor as a Debut filmmaker Avijit Sinha Roy has made a signature here of his uniqueness in the film. The single plot, good script, clear screenplay, measured acting, soothing sound designing, and appropriate editing has given the short film a clear image which can inspire other filmmakers to make films in low budget but in an artistic way.
Director Avijit Sinha Roy calls the story of his film is an O' Henry-like twist. But maybe O' Henry has a specific way of twisting, but it has been shown here in a unique way. The urban side-effects make a creative man crippled concerning his job in the corporate sector and the society around. Mega-metro flat-car-lifestyle culture in corporate circumference, in the film, ends in a bungalow far away from the metro city, the actual place for the creation, far from the madding crowd. A creator in all aspect of life has to choose the original place for his creation concerning a stable life and the passion for creation. To take the risk for the creation is not a matter of joke. But here the main character has reflected the urge for creation, sacrifice for that and dedication for getting the success. Film SIDDHARTHA has tried to define life in a new way. As a short film, it has put an unanswered question in the last part of the film. Capturing all the shots and images with the camera is up to a satisfactory level. Though somewhere a little bit incomplete portrait is seen, that is negligible concerning the ultimate success fo the film. Editing of the film has gone at par with the storyline. Practically the most important fact here is that the Editing has not eaten up the linear progress of the film. Light is wonderful. The moods of the film in the different shot have been made with the appropriate throwing off light. The smooth running of sound in the background has given hype to the universal question of life. But it would be suggestive to the director to make the titling of the film in an off-trade manner, which will be more attractive.
Most attractive part of the film is a scene of playing guitar in classical tune. It is not just a scene; it has reflected the theme of the film as well. The tune which was being played sounds the frustration, pain, agony, social circumference, dreams, creations at the same time. The classical tune of the guitar, The bungalow far from the city life has shown the vast differences existing between the corporate job and self-sufficient, creative world. The scene of playing a classical tune in the guitar is truly the definition of the film language. This film language has been the backbone of the film SIDDHARTHA. Along with it the measured acting by Ranadip Das, Payel Dutta and Shantanu Mitra have given the film a wonderful milestone, which has made the film a grand success. A shot beside the river Ganga, an establishment shot of the high-rise apartment has made the film relevant concerning the society. The thoughts of Siddhartha by the side of the flowing Ganga amalgamated with the spiral way of smokes from the cigarette has made the story explanatory. The little flow of Ganga has made a wave in the heart and brain of the central cast which has been shown uniquely. The shot of high-rise is taken in such a way which tells the story of the lost sky from our heart and mind. Not only that the ultimate destination of the creative mind has also been shown in the very first phase of the film, where Siddhartha is with a laptop in the office, and the screen is showing the business presentation, this business presentation is showing the meaning of the success of life meaning money. Then and there Siddhartha stops the laptop. From this scene, the real journey of the central cast starts. SIDDHARTHA has been a wonderful cinematic presentation reflecting the real story of life.
Triptayan is a filmmaker looking for a different horizon. Earlier a journalist Triptayan has done intensive research on film language and made different documentaries so far. He is now concentrating upon feature film in a vast landscape. Professionally a teacher, Triptayan has also passion for making films threaded with the international and universal thoughts.
