I started to see ANURANAN almost as an afterthought on a Saturday night because I had nothing else to do and it was the first DVD that came to hand. It turned out to be a marvellous and moving experience, beautifully crafted and deeply explored. Although I don't speak a word of Bengali, it seemed more natural to watch it in that language with English subtitles rather than the poor Hindi dubbing.
What made the movie specially interesting is that all four main characters are explored both collectively and individually, mostly though expressions and body language. The interchange between the two women, though limited to a few scenes, is the crux of the entire story and one gets the idea that they are somehow emotionally dependent on each other. Their rather ambiguous and mysterious dialogue leaves some questions unanswered.....perhaps the director deliberately intended it to be so. Rahul's contemplation of his own dreams and desires are also superbly depicted, particularly when he is on his own in the Himalayas.
The ending did come as a shock and while it was completely unexpected, I resisted the knee-jerk reaction to denounce it. On contemplation, I felt that it was so designed not simply to show Preeti's emotional frailty but once again the strange bond that existed between the two women through their men. Rahul's final recording seems to suggest that he had finally understood where his wife Nandita came from due to his relationship with Preeti. That emotional link was why Nandita was finally only able to grieve when she met Preeti at the hospital.
The editing needs special mention for being so crisp and never allowing any scene to drag, something that can easily happen in this kind of film. The musical score is delicate and harmonious, superbly complementing the storyline. But it is the awe-inspiring and unbelievably imaginative camera-work that is really the icing on an already beautiful cake, not just in the Himalayan scenes, but throughout the film.
What made the movie specially interesting is that all four main characters are explored both collectively and individually, mostly though expressions and body language. The interchange between the two women, though limited to a few scenes, is the crux of the entire story and one gets the idea that they are somehow emotionally dependent on each other. Their rather ambiguous and mysterious dialogue leaves some questions unanswered.....perhaps the director deliberately intended it to be so. Rahul's contemplation of his own dreams and desires are also superbly depicted, particularly when he is on his own in the Himalayas.
The ending did come as a shock and while it was completely unexpected, I resisted the knee-jerk reaction to denounce it. On contemplation, I felt that it was so designed not simply to show Preeti's emotional frailty but once again the strange bond that existed between the two women through their men. Rahul's final recording seems to suggest that he had finally understood where his wife Nandita came from due to his relationship with Preeti. That emotional link was why Nandita was finally only able to grieve when she met Preeti at the hospital.
The editing needs special mention for being so crisp and never allowing any scene to drag, something that can easily happen in this kind of film. The musical score is delicate and harmonious, superbly complementing the storyline. But it is the awe-inspiring and unbelievably imaginative camera-work that is really the icing on an already beautiful cake, not just in the Himalayan scenes, but throughout the film.