By- Partha Prawal Goswami
When the trailers of Samiran Barua Ahi Ase, the fourth Assamese film to be released in 2012, flashed in youtube it made a promise. I am a huge fan of the cult Assamese story by the same name written by Manoj Goswami and hopes ran high when I saw these trailers. I hoped the movie will finally quench my thirst of watching a good unforgettable Assamese movie that may just prove to be the catalyst in uplifting the already dying Assamese film industry. But, as they say, it never judges a book by its cover, I was dejected and disappointed big time. Prodyut Kumar Deka’s second directional venture is defused dynamite which is sloppy right from the beginning to the end; with some good shots here and there but they are too few to be noticed and remembered.
The film is divided into four different chapters and it begins with the character of Brojen Bora, a surrendered member of a militant organization, being surrounded and questioned by journalists on various issues. Primarily on the future actions of the organization and it’s elusive and enigmatic leader Samiran Barua. When Brojen Bora says that Samiran Barua is returning, everyone right from to the police to his family readies themselves separately to deal with his return. While his parents fear this return, the police and intelligence get on their toes to nab him first and soon. His ex-lover Nila, portrayed by Madhusmita Borkotoki, fears that his return may just land her in the court with divorce papers on hand. Only if she had put on more acting and less make-up, it would have made a better viewing. The journalists, on the other hand, get busy to do some exclusive stories on Samiran Barua, so that the circulation of their newspaper(s) soars high.
The plot was good, had a lot of scopes for improvement. For instance, the cinematography by first-timer Ratul Barman is amateurish. There is a shot where he follows the terrorists from behind while they are being chased down by the police. Gosh, we can see anything and everything in the shot but not the characters. Again there is one shot where he follows Samiran (Tapan Das) from behind at a busy Guwahati intersection, which is shaky and very painful to the eyes. But the song picturized on Madhusmita made a better viewing. And yes, not to forget the lack of footage while Nilim Kumar’s poem was being recited at the backdrop by Samiran Barua when he finally reached the city and was speaking his heart out about the changes he was witnessing in the city. Music by Atanu Bhuyan and background score by Kishor Giri is naive and doesn’t suit the mood of the film at all. The light-men brought everything, except for proper lighting equipment. Again the script is too slow and sloppy that it is really difficult to find continuity. And above all, there is a party song towards the end, which I still not able to understand why was it there? Tapan Das’ presence as the title character was a breather, but he too failed to impress the audience with his monotonous and tired acting. Guess he was confused as what was he doing in the middle of a total chaos and confused plot. The director introduces too many characters which were found wanting for breathing space. Mridul Bhuyan was a total waste. Thank god there is Baharul Islam as a journalist. He got into the skin of the character just like that and arguably pulls out the best performance of the film.
If the director made the movie for an award, then it should not have been screened for the public. But the juries for any award will also think a thousand times before they actually give an award to this misadventure. I was hugely disappointed and wished Samiran Barua would have never returned. I am going with 2.5/5 for this confused and unappealing movie by a good director in Prodyut Kumar Deka. The title of the movie may drag people in plenty but will not hold them for long at their seats.