Jhumura | ঝূমূরা | Harnessing the essence of folklore

by Aneek Chaudhuri

 

 

Rwik (Samadarshi) and Sahana (Sohini), two youthful writers from Kolkata, visit Purulia to uncover fascinating data on the withering society of fine art, jhumur. There, they meet an elderly couple (Kuchil Mukherjee and Gopa Sengupta), who recount to them the musical adoration story of Kanchan and Kusum and of Jhumura, a tribal town.

 

Jhumura is verse in movement. What’s more, the credit for that generally goes to the moderate (a bit too moderate on occasion) yet smooth storyline penned by the executive himself and the fantastic cinematography by Mrinmoy Nandi. From coming to an obvious conclusion utilizing a quiet veil dealer to depicting the haplessness of Kanchan’s first wife (Tania) with a dry leaf pushed around by a breeze, the film doubtlessly emerges for the straightforward superbness of every edge and the contemplations that went into making such a visual embroidered artwork.

 

Add to this visual stream the smoothness of music — provincial and smooth — and Jhumura turns into a trip for the faculties. You rise and fall with the slopes and streams, the sunrises and nightfalls, of Purulia, and feel your heart take off or sink with the profound jhumur tunes. Also, the craftsmanship’s skirmish structure with advanced amusement choices throughout the decades has been depicted with clarity.

 

In any case, everybody appears to be so caught up with making specialized enchantment that nobody appears to see the blemishes in the storyline. Yes, the stream is sans smooth of hops or hiccups, however it forgets basic pieces that encourage confounding musings once you leave the theater. Inside, you are excessively overpowered by the visual treat, making it impossible to think, yet no such ties exist outside. For one, the relationship in the middle of Sahana and Rwik is a befuddling untimely idea. The film neglects to build up their developing affection for one another. It hits you abruptly at one scene or two. Additionally, the story forgets about the requests of journalistic exploration. All things considered, no hard story can be composed taking into account an affectionate story of legend; writers need actualities and photos. The two youthful columnists appear to forget about that essential prerequisite as the film advances.

 

A scene from Jhumura

On the other hand, it’s the confounding time spans. In the event that the story of Kanchan and Kusum is a piece of history (as made evident by the infertile slope on which once stood Kusum’s town, Jhumura), then why hasn’t the cover dealer matured? Regardless of the possibility that we expect him to be a typical yet quiet sutradhar, by what method can a flourishing town vanish in only a couple of decades and why? We are constructing these inquiries in light of the last ordered reference point in the Kusum-Kanchan story — the screening of the Hindi film Amar Akbar Anthony. Accepting that the film came to the remote town, say, six months after its discharge, we can peg the time period around mid or late 1977. Things being what they are, in the interceding 38 years, Jhumura is wiped out from the world’s substance, yet the veil merchant declines to age?

 

In addition, the destiny of Kusum and Kanchan is never uncovered. In the event that they are still alive, they would be in their sixties or seventies. Things being what they are, do the storytellers (Kuchil and Gopa) remember their own story of adoration? That, Mr Director, is excessively unpredictable a conundrum. You shouldn’t have abandoned it to the gathering of people to make sense of such an imperative bit of the storyline. Jhumura is not precisely a Byomkesh story, is it? In this way, in spite of making such a varying media treat, we can’t bear the cost of even a star more than over two. Somewhat more tender loving care would have most likely earned you no less than a star more.

 

Presently, going to the acting division, we must say that the specialized greatness of the film make an extra weight on the on-screen characters to keep their exhibitions on a standard. Sohini is very persuading, both as city young lady Sahana and town magnificence Kusum, and Samardashi nails it as photojournalist Rwik and town fellow Kanchan. However, by one means or another, the two ought to have worked more on their on-screen science. Their consistent contentions towards the film’s start appear to be practically constrained now and again. What’s more, however every single other performing artist have done complete equity to their parts, only one star for acting.
Over all, Jhumura is an enthusiastic film, a bit on the moderate side, yet at the same time locks in. Thus, for a change, go and watch something that is miles far from thoughtless viciousness and thing numbers and enjoy your better detects.

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