NIRBAAK | নির্বাক: The Speechless Steps to Feminism

by Aneek Chaudhuri

Srijit Mukherjee, also known as Srijit Mukhopadhyay has come up with a stemming precision that entails the steps to feminism and the respect for it. The medium is NIRBAAK. With an inception named Autograph, he has indeed traveled a long way to reach the surrealistic form of Cinema. Hence, Nirbaak can be defined as the unmeasured, callous making of an intellectual, and such carelessness has indeed created some magic for some. It is quite true that for every individual person, a certain amount of callousness is the requisition to withdraw the burden of aesthetic pleasures; at times, simplicity can be quite magnificent and the same has been expressed through this piece.

The film begins with the Shadowgraphy Titles; a single notation of flute, is all that it takes to display the sweet fragrance of the film and most importantly, crediting Salvador Dali’s art form in the auteur’s own way. Speaking of feminism, what does the vagina of a woman represent? In a simple phrase, it is the symbol of creation. But, what the film has done is that it has symbolized the organ to be the deciphered source of emotions associated with love.

Sushmita Sen plays the centroid in Nirbaak and the film begins in a casual manner that displays the daily life of a middle-aged gentleman, played by Anjan Dutt. Now here, Anjan plays the roles of a self obsessed person who is in love with himself and he has brilliantly acted throughout the speechless journey. Fantasy can be highly related to this character, and here, mirror forms the image to be fantasized. If we compare the depiction with Salvador Dali’s the Great Masturbator, it is highly metaphorical with the seductive woman being fantasized. Here, the feminine side of Anjan has been a mere reflection of his inner conscience. The film forms a soothing bridge among the characters utilized here; Sushmita Sen is the sole common factor among all the depicted characters. Jishu Sengupta is Sushmita’s lover, but there is a slight watch of grassy personification leading to a love trio. Comparing it to Salvador Dali’s art form, surely be termed to be in equilibrium. The woman in the art piece (much influenced by Gala) is leaning toward a man’s sexual organs. Nirbaak focuses on the personification of the tree that is engaged in some sort of lustful affair with Sushmita Sen.

In one of the scenes, the suit-veil gets withdrawn from her dress, and her breasts were almost noticeable; this is trailed down with a series of sexual progressions experienced by the tree and suddenly ‘white fluid’ slows down the stem. The scene is followed with an egg (which may be of some bird nesting in it) falling beneath discharging red fluid within it. This is indeed a mannerism to define a person’s relationship with the female nature. Hence, Srijit has portrayed the scene much similar to that of the mastery presented by Dali; Sushmita with her lids closed, and an angular view of the breasts bending toward the tree and blood drops (suggestively that caused due to menstruation) sprinkled onto the male figure’s knee. Whereas, Anjan Dutt can be compared to the lion face pressed upon the lady’s figure in the art piece. By studying Freud’s works, the depiction of lion’s face is the symbol of sexual savagery and here, the head grows up to become one of the indispensable organs of the female body. Similarly, Anjan dutt has cultivated a woman within him, leading him to no other inclination. However, the wounding  of femininity has been depicted with a hemorrhage of blood that flows down his genitals, on being hit (though accidentally) at the corner of the bath tub. Such loss of blood may be identified with menstruation in women with over-bleeding been associated as femininity hemorrhage (in some cases). In the next scene, when he find himself rested inside an ambulance, it got quite ironical for him to love the mirrored person (that he could view at the ambulance glass). This can perhaps be termed as the loss of obsession toward his feminine side.

Ritwik Chakraborty can be compared to the grasshopper that is synonym for death or decay; on Sushmita’s death, rather than sticking himself against her, falls in love with her dead body. This is metaphoric to the affixing of the grasshopper to Gala’s belly.

The film has been presented in a very simple, yet artistic manner. Hence, an improvement can easily be claimed in Srijit Mukherjee’s coordination, the one that tends to match intellect with implementation. The only thing that act as a thin act of blemish is the dance by Sushmita posing to be the fantasy of the tree. Moreover, she can be observed to have acted either plain or clumsily in certain scenes, including the one which depicts her love for the city of Kolkata and when she enters into a conversation with Anjan Dutt. However, subtle performances from Anjan Dutt, Jishu Sengupta, and Ritwik Chakraborty has compensated the same for sure. If I would have to rate it, I would give it 7 stars out of 10, with speechless ovation to the director. Hats off!


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