Ask any 20-25 year old youth who has seen Hindi movies, if he has heard the name of Anvita Dutt, the answer is yes, if you have heard anything, it seems to be heard. Then remind them of their Tashan song ‘Chhaliya Chhaliya Chhaliya, Rooh Chura Loon Main Hoon Aisi Chhaliya’ then the answer will come, yes, shine. Anvita has been in cinema for almost 15 years. Those who keep a close eye on the cinema, they also know and recognize them. But, the new audience remembers the new cinema. No songs and dialogues. In this sense, Anubita Dutt’s directorial debut Bulbbul is her first knock, for the audience of Hindi cinema who believe in the world even more than the stars. A finished story, a strong supporting team and a courageous producer. Anvita’s real flight now starts from Bulbbul.
Bulbbul is the story of the period when Devdas used to go to London to study. Or to say that even a few decades ago. Bulbbul is a child. Married to an aging young man. She considered her brother-in-law sitting in the dolly all the way. What does he know what are the chances of becoming a daughter-in-law? He likes to get out in the gardens with his brother-in-law. But, if the husband does not like these closeness, then the brother-in-law has to go to London. He comes back on the night of Red Moon. The witch has arrived in the story now. This lover of Bulbbul suspects Paro. He does not understand who Chandramukhi is. Bulbul also says, all men are the same. And, the only way to teach these men a lesson is death.
Anvita heard this story in childhood. For a long time, it was written in paper and when one night a bulbbul came on the roof and made a scuffle, he felt that this was a sign to convert this story into a film. The cinema of Bandini’s era is his favorite cinema. The character of Rahul Bose is the second pole of his story. Images and reflections in cinema have been well used in this film after a long time. Ravana’s beating of Jatayu by taking Sita behind Indranil beating Bulbbul cannot be coincidental. Indranil’s body language is similar to that of Ravana. In the story, Lakshman is Bulbbul’s brother-in-law, Satya, he cannot understand which gardens of his childhood Bulbbul have grown through. His youth wandering in these gardens has come out, but his soul has withers away. He simply keeps drawing lines to stop the sister-in-law from visiting the doctor.
The film is directed by number one. And, at number two is the amazing performance of Rahul Bose and Trupti Dimri. ‘Kamal’ would actually be a short word for this stage of acting. It would be better to feel it. Bulbbul makes up for Satya. She also laughs with him. Her face arouses compassion in the torture of the abla condition. And, when she turns black, it looks like Bulbbul’s bully. Bravery is his inherent trait. Fear she awakens at just the right time. Bulbbul’s smile becomes the bearer of her amazing transformation and when she finally wakes up both hatred and jugupsa, she has become not only Nine Durga but also the second such actress after Deepika Padukone in the current era, Which has the potential to show all the nine juices of the same character in the same film.
The other end of the acting is in this film by Rahul Bose, Ashwini Tiwari, Paoli Dam and Parambrata Chattopadhyay. Parambrata has inherited cinema. Ritvik Ghatak’s DNA philosophy has been done before in such characters. This character is a left-handed game for Paoli Dam and Ashwini Tiwari is constantly trying to get people to notice her hard work. But, Bulbul’s Saiyad (Fowler) in this film is Rahul Bose’s excellent and double acting. In the characters of Indranil and Mahendra, Rahul Bose’s mix of chiampan, lust, lust, jealousy, deeds, anger and disinterest is a real pleasure to watch in cinema.