From time immemorial, troubadours and writers have composed works of art on ladies' depression and character emergency. Tagore's Nashtanir was one of them. The story was deified with Ray's celluloid great Charulata. Along these lines, when a film named Charulata 2011 discharges, which is likewise in view of Tagore's story, it's not unnatural for desires to develop.
It wouldn't be reasonable to the cast and team of the film if one begins to contrast Ray's film and this. Executive Agnidev Chatterjee has inexactly taken after the primary storyline, consolidating it with his own. Today's Charu is Chaiti (Rituparna Sengupta), a youthful, wonderful and scholarly wife of an exceptionally well off daily paper manager - Bikramjit (Arjun Chakraborty). With Bikram being distracted with his article obligations, Chaiti keeps herself occupied with costly saris, recording nails, staring at the TV and, regardless of being an exceptionally taught advanced lady, does nothing all alone.
From the very begin, the chief has played with the course of events of the film. Along these lines, the story works in a non-straight manner. Beginning off on a fascinating note, inevitably this hopping back and forth gets a touch cluttered up. Chaiti, discouraged with an unsuccessful labor and the absence of physical closeness with her spouse, gets to know Amal ( Dibyendu Mukherjee) on Internet.
To Amal she gets to be Charulata 2011. Her desolate heart at long last finds the right organization. In any case, the story goes ahead to show how coerce strings over her closeness with Amal make Chaiti disjoin every one of her ties with him, yet at the same time she can't avoid meeting him when he at last comes to Kolkata from London.
All of a sudden, the enthusiastic closeness turns sexual. This is the place the film loses its profundity. From the minute Chaiti understands that Amal is her spouse's cousin, Sanju, who's going to stay at their place, the film begins to drag. All during that time a large portion of, it's Chaiti's blame versus her yearning for Sanju. Without the vicinity of the radiant mental association of adoration between them, the film turns into an account of a rich, desolate wife's double-crossing undertaking with her spouse's sibling. Love gets to be synonymous with sexual craving.
Shirsha Ray's cinematography indicating visit close-up shots of Chaiti or all encompassing shots of a solitary lady in an abandoned, overcast ocean shoreline tries to get the story's strain. Chief Agnidev likewise endeavors genuine endeavors to depict Chaiti's sensitivity bringing out mental state with fitting dialogs and little subtleties of expression. Indraadip Das Gupta's experience score has a fantastic quality to it, yet on occasion it's similar to the stuff you hear in thrillers. Lamentably, the melodies too don't keep focused.
It's totally a Rituparna Sengupta film. The camera keeps focused, gives her everything the consideration and she lounges in it. Ritu demonstrates at the end of the day that given an open door, she can stagger everybody with her downplayed acting. She consummately depicts the disagreements in Chaiti. Arjun Chakraborty endeavors, however turns exaggerated in a few scenes.
You will really become hopelessly enamored with Dibyendu Mukherjee's named baritone; however else he is only a vicinity to supplement Chaiti's character. His character is critical, yet the part isn't. Kaushik Sen and Dolon Ray are splendid as Chaiti's sibling and sisterin-law. Truth be told, Kaushik ought to have a go at depicting negative shades all the more regularly.
In spite of these endeavors, the film is about sexual craving and does not have the spirit, which makes it inadequate. It can be abridged by one dialog articulated by Chaiti's companion, Arnobi's (Rii), in superfluously complemented Bengali - "Sotti kore bol, tui or sathe shute chash, tai toh?"