Out of the darkness of human despair is enkindled a life of hope projected in the two films Kichhukshan and Ei To Jeebon both premiered at Nandan recently. Being the second and maiden vehicles of aspiring young directors, Anaghranjan Pashi and Biplab Sarkar hold the promise of a bright future in the realms of film making. Especially Pashi’s Kichhukshan (For a Moment) was marked by the spontaneity of the cinematography coupled with the smooth flow of the narrative that engages audience interest. 

Showcasing the difference of lifestyles of the urban and rural, the director manages to convince by dint of his visuals of the idyllic beauty of the rustic countryside in contrast to the hurly burly, chaos of the urban landscape. Set against the backdrop of a remote village in Bankura, a film making team headed by Anirban Roy along with his producer and cinematographer went in search of location shooting for his next film. They are accommodated at a lodge Kichhukshan by Shivnath and his wife Sheuli who plays host offering the choicest homely food to the guests.

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The gradual discovery of Sheuli’s actual identity who was once known as Tanima in the city, is unveiled when the latter after being raped is rescued from committing suicide on the rail tracks by Shivnath, a villager, who not only saves her honour but adopts her son after their marriage.

The film making team return to their urban set up somewhat like Mrinal Sen’s Khandaar with the idea of making their next at the same location. It is a moving human document armed with the technically competent cinematic skills that highlight the struggling living conditions of terracotta artisians of Bankura at one level with a subtle blend of the human relationships at another. 

The casting ropes in Tamal Roychowdhury, Sudip Mukherjee, Piyali Adhikari, Sanjib Sarkar Arav and others with their convincing acting skills that held the film together. Produced by Kalyan Sinha Roy under the banner of Events Worldwide & Communications, Kichhukshan with story idea, screenplay and direction by Pashi (35-years-old) is his second venture. 

To counter the evils of suicidal leanings, the basic message of Ei To Jeebon directed by Biplab Sarkar based on his own story idea and direction is all about “while there is life there is hope”. Though technically not as sound as Kichhukshan, Sarkar should be lauded for the bold idea in offering an incentive in his film to a new lease of life. The opening shot introduces a youth contemplating suicide and imagines that he is actually performing the act by jumping from a tall building. The terrible shock joggles his memory of past experiences of human relationships that lead him to his doom. 

He stops by a road side tea stall and observes the passing show of different people who let their hair down for a while and unwind. Amit, the protagonist rebel against the society for making him suicide prone and, after much soul-searching is on a positive track. This is made possible through his perception of the miscellaneous people he comes across at the tea stall who are enjoying their lives in the face of personal dilemmas and emotional problems. The film climaxes on a note of hope when he comes to know that there is more to life proved by the examples of others pitted against the worst bitter experiences. The casting has two new discoveries in the main lead namely Suman and Dipanwita supported by professional actors Kharaj Mukherjee, Biswajit Chakraborty,Tulika Basu, Biplab Chatterjee, Bodhisatta Majumdar and Kalyan Chatterjee.

When queried what drove him to select such a story idea on suicide, Sarkar said, “Whenever I read newspapers I observe that there are many suicide cases probably born out of a sense of frustration and loss of patience. I came across so many people belonging to the lower strata of society discuss their hardships at the local tea shops. But despite their misery there is always a cheerful smile no matter what odds they face in life. This actually engendered the idea of making a film on a suicide prone character”.