Akash, a senior writer arrangements to do a story on recompense winning author Megh Chatterjee. Amid their gatherings, Megh adds to a sort of interest for Akash. Akash, however is in an unfaltering association with his live-in accomplice, Brishti. Megh's advances towards Akash make breaks between the two youthful darlings. In what manner will Akash handle the circumstance? Will he have the capacity to rescue his connection with Brishti, or offer into Megh Chatterjee's difficult methodologies?
The film Oh! Henry by Animesh Roy brags of a solid storyline. The main thing that the film can gloat of, it turns out. The uncommon plot spins around three people, Megh (Locket), Akash (Dibyendu) and Brishti (Pooja), who wind up in a circumstance that spirals out of their control, when Megh observes Aakash to be the accurate shadow of her novel's saint, Henry. Consequently the title of the motion picture.
Megh carries on with the life of a hermit and has the notoriety of being a more established lady, fixated on sex. In the beginning scenes, she appears to be unusual and unimportant. She has her very own universe, which confounds Akash. All the more in this way, when she mortifies and appeals him at the same moment. Step by step, as the story advances, a schizophrenic aspect to her character is uncovered.
Is Megh Chatterjee truly infatuated with Akash? On the other hand would she say she is simply interested by him, in light of the fact that in her brain he speaks to a definitive legend of her inventive world, Henry? Is Aakash in affection with Megh Chatterjee, or would he say he is simply being the normal man who can't prevent himself from laying down with a lady when the open door presents itself? The film additionally has a riddle edge to it which develops in the last scene. Also, last yet not the slightest, four long and hot affection making sessions, that start up the screen. Enough masala for a pot-heater, you would think. Sadly, it falls prey to absence of directorial abilities.
Memento Chatterjee stands her ground as the lady writer whose brain is a puzzle, even to herself. However, in a couple of scenes, she topples over the slight line of acting and over-acting. Additionally, she looks practically crazy, attempting to smoke on screen. Dibyendu indicates potential however is awful in the passionate scenes. He unquestionably needs a lesson or two with regards to shedding tears on screen. Pooja, then again is the accurate inverse, taking care of the enthusiastic scenes with elan however missing the mark generally. Additionally, she needs to shed that appalling accent.
The unfeelingly shot tune arrangements, that conspicuous difference an unmistakable difference to the strange topic that the film tries to investigate, are another purpose of sympathy toward the film.The bounce between scenes looks cumbersome and constrained. A disgrace, we should say, given the sort of quality the storyline appeared. The executive's take of an open-end as well, neglects to lift the film.