Everyone of us know about that old aphorism Small is Beautiful. What the vast majority of us don't understand is that a lot of straightforwardness may prompt undesirable results, especially with regards to film-production. Chief Birsa Dasgupta, whose introduction wander "033" wowed us with its new, fresh and straightforward brand of narrating, is back with his second offering Jani Dekha Hobey or, Jani Dyakha Hawbey, as the producers want to call it. Shockingly, this time round, the man appears to have taken the estimation of effortlessness in motion picture making a lot to heart.
Jani Dekha Hobey had been advanced as a vibe decent love story between a urban couple and how they battle through individual contrasts to make their sentiment an amazing achievement. The film recounts the tale of Megh (Parambrata Chattopadhyay), a battling lyricist and Hiya (Payel Sarkar), a wannabe design model. The begin of the motion picture is sufficiently promising, with our driving couple sharing a typical long for Hiya frantically attempting to banter with Megh in the setting of the wonderfully shot Kanchenjunga. The fantasy arrangement closes and a voice-over underscores the colossal chances of two individuals in affection, having the same dream, in the meantime.
Switch to flashback mode, and we discover how Megh and Hiya met (under crazy yet sweet circumstances). They trade telephone numbers and, evidently, in a matter of days, begin to live respectively also. Issues raise their revolting head, when Hiya, driven on by her desire to end up a truly effective model, turns out to be excessively wrapped up with her photograph shoots, leaving poor Megh, unemployed and as yet searching for musical acknowledgment, essentially exposed to the harsh elements of reality.
Our saint communicates his dismay at the fairly strong photograph sessions that Hiya is highlighting in and strings of jealousy begins inching into his manners of thinking as well, for his woman love has as of now turned out to be way more fruitful in life than he is.
The story, notwithstanding, heads descending past this point. Megh, in a plastered fit, spreads repulsive gossipy tidbits about Hiya's calling, which prompts a fierce fight lastly, a separation between the two. Enter "Ishwar" (Anjan Dutt), the self-announced 'Out-of-work bhogoban' and the previous lover of "Nirupama" (Mamata Shankar, in a delightful cameo), and he instantly continues to set everything directly in the middle of Megh and Hiya, with the assistance of "MacD" (Shiboprosad Mukherjee), a prominent identity from the music business and the security gatekeeper of Megh's condo.
All in all, what troubles this sweet, sentimental film? There is basically no character advancement of the fundamental heroes of the motion picture. The main thing that the group of onlookers becomes acquainted with about Parambrata's character is that he is hard squeezed for cash, however past that, nothing.
Payel's Hiya is considerably more unusual, giving out portable numbers to bizarre young fellows inside of ten (perhaps less!) minutes of meeting them, having tornado undertakings and afterward, after the separation, chuckling at jokes broke to Megh's detriment lastly arriving up at the living arrangement of Pat the picture taker (the awful gentleman in the motion picture), where she stays for three months!
Does this film mock at the malice of young fellows, who can spread messy bits of gossip about their ex-accomplices without fluttering an eyelid, or does it expect to ridicule the artlessness of an informed young woman, who stays at an obviously scurrilous picture taker's home, simply because the last has guaranteed her a task from FTv (kid, silly contemplations can to be sure great!)? One miracles.
It is pleasant to see Anjan Dutt in a film which he is not coordinating, and the "Ranjana" man by and by demonstrates that, however lousy the flick might be, his character would radiate through. One wishes that he and Mamata Shankar had screen space together. In a part that for the most part includes reprimanding Parambrata for mouthing obscenities, the gifts of the veteran performing artist have been completely squandered. It is, be that as it may, hazy, how, or why, Dutt's character turns out to be so dedicated towards bringing the Megh-Hiya love story back on track.
Rupa Ganguly plays Meenaxi, the sexy, likely separated leader of a music organization, who really likes the much more youthful Parambrata. Her character is again a silly one, with no similarity of a back-story and just an inhaler demonstrating that her past sentimental encounters have been grievous.
The two music executives of the film are Neel Dutt and Indraadip Dasgupta. The title track, with its intriguing utilization of the evergreen Jo Waada Kiya is hummable. Neel's best creations appear to be held for his father Anjan Dutt's motion pictures to some degree like how we just bamboozle Rajesh Roshan in Rakesh Roshan-coordinated movies.
Birsa is an expert storyteller, yet in the event that he truly needs to enter the domain of standard film, he needs to attempt once more. The motion picture has an open-finished peak, with the gathering of people left to judge whether Hiya and Megh really turn into a couple by and by, or whether it is each of the a developed, shocking, dream. The issue is, the viewers had quit minding quite a while back.