In a completely pressed assembly hall at fundamental theater in SRFTI grounds, for the most part the understudy and graduated class of this regarded foundation and a couple of untouchables such as me, I saw the première of Rajdeep Paul and Sarmistha Maiti's 32 minutes short film 3 on a bed. Created by Satyajit Ray Film and Television Institute (SRFTI) and enlivened by Girish Karnad's Kannada play 'Hayavadana', this is said to be India's first polyamoric film around a ménage-à-trois or a trio of two men and a lady.
As the name recommends, the story spins around three companions, Kapil, Debdutta and Padmini, all craftsmanship school pass-outs, sharing their bodies, soul, sustenance and a bed. The portrayal is done, generally as flashback of Debdutta; who connect the snippets of fellowship as group building exercise, while confronting a meeting for the employment of inventive craftsman in a promotion office.
The subject seems striking in current Indian social setting, be that as it may, the reference given about presence of such a framework in prior days, through reference of books Hayavadana, Peter Pan and Ebong Himu; also in a cooperation in the middle of Debdutta and Padmini; the Director couple reminded us, how extremism has gotten a handle on our reasoning procedure. Also, notwithstanding three exposed scenes on the bed, the chief twosome merited honors for taking care of the subject of the story maintaining a strategic distance from diversion, and not permitting this film to wind up a delicate porn, and win shoddy attention.
At the point when two grown-ups of inverse genders stay together in an adoration relationship, the coupling join between them used to be a perplexing science of affection and sexuality; which keep them together as well as, build up a sentiment possessiveness on one another. Any danger towards this science makes commotion and affects sentiments of outrage and desire between the connections.
While watching 3 on a bed, I reviewed an article distributed in famous Bengali news every day about the biography of a specialist; living at Garia in Kolkata; who is hitched to two ladies, who are sisters. He likewise has had youngsters from his wives and they all are living respectively joyfully, under one rooftop. Maybe, individuals might term this as a remarkable frequency of our general public, yet actually, it exists and relationship is effective.
The idea of this film raises the same issue; can this sort of affection and sexual relationship exists in our general public? Provided that this is true, what might be their terms? What ought to be the model of our social framework? I know there are more convoluted inquiries, which may emerge; however praise to Rajdeep and Sarmistha, to consider such an issue and made their movies to talk about the same.
In spite of the fact that taking after focuses were, if clarified further, I trust, it would have been more pleasurable survey experience for the groups of onlookers:
What was the mystery of Padmini's past life, for which Kapil was staying away from her? What's more, why out of the blue, Kapil overlooked her past and pulled her closer?
In the event that Debdutta was so developed and pragmatic speculation individual, then why he showed up so juvenile and whimsical towards Padmini, on the ocean shoreline and the lodging room, toward the start of the motion picture.
This film is based upon relationship among three individuals, which can be suitably investigated outwardly. Won't it be better if the measures of dialogs were trimmed a bit?
Be that as it may, as a film, the script is well made and the acting by the lead characters requests appreciation. I might extraordinarily want to specify the names of Tanusree Goswami for depicting the intricacy of Padmini's character without hardly lifting a finger and Saurav Das, for his characteristic articulation of Kapil's straightforwardness.
The Editing by Sarmistha Maiti and cinematography by K Appala Swamy, impeccably coordinated the states of mind of the story and sound configuration by Amit Kumar Dutta finishes the review experience. Anupam Roy, as music executive, does not require any presentation. Combining the melody "Borne Gondhe Chonde Geetite" in Sachin Dev Burman's voice with the foundation score, is a savvy choice by the chiefs' team and the music executive, to portray enthusiastic battle between the focal characters splendidly.
As the film closes, it leaves the gathering of people with a vibe positive sentiment. When we see the three characters to unite once more, it's a solid message given by the executive team; yes, another world is conceivable, what we all need to do is to love others benevolently.
As Debdutta, answered in his meeting, "it may be your fantasy; however you require a group to understand your fantasy", I wish, the group of Rajdeep and Sarmistha will keep making movies and continue offering their fantasies to us.