Written by Ishita Sengupta |New Delhi |Updated: September 26, 2019 4:58:02 pm
The enduring relevance of Pradipta Bhattacharyya’s Bakita Byaktigoto
Bakita Byaktigoto, released in 2013, is not just timely but timeless. It can be read both as a censure against a particular brand of love and an acknowledgement of the many love(s) that lie scattered, unnoticed.
There is a particularly heartwarming scene in Pradipta Bhattacharyya’s Baakita Byaktigoto (The Rest Is Private) where the protagonist Pramit Roy, an amateur documentary filmmaker, is told by his cameraman, Amit, “Tor toh hoye gelo re!” (it finally happened to/with you!). Uttered, while shooting Roy with his camera, in a half-joking, half-envious way, Amit’s iteration is akin to a friend’s tease reserved for moments when you finally achieve something seemingly impossible you had been doggedly attempting to. Like cracking a tough exam, winning over someone after long, or— like in this case—falling in love when you are unsure of your capability for the same. Roy (a mesmerising Ritwick Chakrabarty) looks shyly at the camera and breaks into a trance-like dance; flapping his hands like wings, placing his foot ever so lightly like—awashed with the headiness of the feeling—he would take flight any moment now. It is such an immersive moment of someone falling in love for the first time, so endearing in the way it captures his amusement of wanting to fly when he has sunk so deep, and so preciously intimate in its depiction that one feels valued to be able to witness it.
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