A lady torn in an endless clash. The wellbeing and security of a cherishing spouse, the look at an ethereal world offered by her fantastic beau. The film Tobe Tai Hok moves consistently between the strange and genuine. Which world does she decide for herself?
The film moves between two universes. One is a dim collection with vignettes of imagination, the other a sunny glad genuine. What's more, three mortals are gotten up to speed in a web of misdirection, love and overpowering enthusiasm. Arya (Samadarshi) is a painter got in his supernatural world. He paints on live campaigns, more often than not semi clad attractive ladies. Tilottama (Swastika) is a lady profoundly enamored with him, however she is likewise somebody who can't surrender her singularity. She declines to be his canvas.
Spurned in affection, Arya entertains himself with his sketch, "Ami amar agun bandhak rekhechi, ek anya padma bone," is the thing that he says. Enter Amartya (Joy), last of the mohicans of the Hridaypur Rajbari, a uber cool specialist, who discovers genuine romance in Tilottama. Despite everything he has an inclination for illustrious interests, which we discover as the motion picture develops.
Swastika has a troublesome part to play, profoundly infatuated with her spouse, yet not able to reject the dreamland of dreamlike affection offered by Samadarshi. She has a stressed face all through the motion picture, justifiable, the woman has a ton at the forefront of her thoughts, however why so upset even in cheerful minutes? There's adequate skin appear, and Swastika deals with the slim line between craftsmanship house and foulness well, however the woman and her executive must understand that her uncovered back scenes dont look great on screen any longer, unless she looses weight, a considerable measure of it.
Also, more suddenness in acting was normal from somebody who has done Kadalibala. When she says, "Ekta osudh deben, ektu sapno dekhbo," there's no purity in her eyes. She looks tired in the nearby up shots and has her right forehead up in most enthusiastic scenes during the time half. In any case, when she confronts her spouse after a downpour and melodies excursion with her sweetheart, the depiction of blame that progressively replaces her joy was better than average.
Samadarshi is advancing with every film. With his unkempt look and fantastic yet extraordinary eyes, he fills the role of a bohemian painter to the handle. Twice in the film he goes up against the man who has taken his adoration. Both the on-screen characters are exceptional, and their cerebral duel achieves a high plane. Yet, Samadarshi calmly wriggling with a paperweight amid the discussion in the specialist's chamber is striking. He enters the universe of Tilottama in a hurricane of dream and reality where he is stood up to a second time by Joy. The drained defenselessness in his eyes, yet the longing for lost affection touches the heart, thus does the other splendid performing artist in the film, Joy Sengupta.
The smooth and effective specialist of regal legacy is tolerant with his lovely wife. Be that as it may, the minute he enters the screen you know he has more to him than meets the eye. Be it his patient treatment of a heavy drinker Samadarshi or profound love for Jethima (Angana Basu), his affection for Tilottama yet his imperial detachment as he comprehends everything, his disposition tobe tai hok, let it be, is certain to enchant the group of onlookers. At the point when the two darlings defy, which is really a conflict of two universes, his latently overwhelming self meets the lovelorn universe of Samadarshi head on.
The music of the film is great and the tunes, Amar angahara sangachara and Mone porche mone porche are better than average. The camera work is intriguing, and the chief has utilized bunch naked structures viably. The play of light and strange semi murkiness is great. However the script could have been more tightly.
The primary half extends on, and appears to be detached on occasion, the end is entirely unsurprising. The scene where Swastika leads on Arya towards a certainty, is pointlessly delayed. Likewise, the executive ought to note that, preservationist imperial dowagers dont wear eye liners like Angana Basu did and the last scene would help numerous to remember City of Angel's by Brad Silberling.