Goynar Baksho, The Jewellery Box, a heartrending tale of loneliness and longing based on a novel Goynar Baksho and a short story Rashmonir Sonadana written by celebrated Bengali writer Shirshendu Mukhopadhyay with Konkona Sen Sharma, Srabanti, Saswata Chatterjee, Moushumi Chatterjee, Paran Banerjee, directed by Aparna Sen is a Bengali horror comedy film produced by Shree Venkatesh Films.
The story of three generations of women and their changing social position in relation to a jewelry box, which has been handed down from one generation to another. Based on a famous short story by Shirshendu Mukhopadhyay, the film plays like a comedy but it's tragic deprivation to which women are forced into a world ruled by men.
Married at just age 11, the Bengali Hindu Rashmoni nicknamed Pishima, then played by Moushumi Chatterjee shortly afterwards is condemned to live a life free from the passions of our lives - cut hair, unable to marry again, or even prevented eating tasty food or dress in colors other than white [see Water by Deepa Mehta or the Japanese Wife of the same Sen]. Embittered by her cruel fate, Pishima is only saved by her precious jewelry box full of 5 kg gold and bracelets; the only reason why her family endures until the day she croaks.
However, before survivors can salivate over the jewels, the ghost of Pishima establishes a one-way relationship with Somlata (Konkona Sen Sharma), his niece political stammering that helps hide your jeweler precious, and expands the story of three generations of women .
What could eventually become a pseudo artistic story quite strong feminist tones intertwined in a historical period in West Bengal ends up being almost - an accessible film about a family that does not always do the right thing three very independent women, including a ghost aunt. The paranormal aspect always has its obstacles as it can end up destroying the ambience of a serious tape. However, it seems that Aparna Sen wanted to keep the tone Goynar Baksho relaxed with comedic moments, but never came to sweeten these situations.
Moushumi Chatterjee who plays Rashmoni is so charismatically nasty as any character of Jack Nicholson in Best. Impossible or The Confessions of Mr. Schmidt, only surrounded by other people with very few virtues except Somlata who, despite being very naive with their environment, manages to live his life as a champion raising a developing baby is an independent woman (Biswas) studies and politically involved with the events of the era.
With the exception of the ghostly effects and that sighting of Comic Sans in the opening credits that made me think I was going to watch a movie for children I thought the production values were very good; cinematography and production design resulted in very good moments with the actors, who did tremendous work. The only thing that disappointed me a little was that all the male characters had few qualities, pessimistic about their social status as landowners who not only knew how to do nothing but live off their land, although Saswata Chatterjee plays his role perfectly; a character that is in contrast to that inclination of Somlata want out of the hole anyway.
Goynar Baksho is a story told as a comedy so carefree but, below the carefree, is actually the history of discrimination of a woman in a male-dominated society. Its also the story of the change of the social status of women, which is seen in front of their change of attitude towards a casket jewelry that is passed from one generation to the next. in Goynar Baksho the first generation woman is Rashmoni, a private child widow of everything in life.
Since she became a widow at the age of twelve, she was not allowed to eat meat or fish; it was forbidden to wear any clothing except traditionally intended for widows, a white sari borderless; she was not allowed sex or the company of any man outside of her father and brothers. All she had was the casket of jewels which he had received as a dowry, jewels that she could not wear, and she kept this set at the cost of life. It was his only wealth and its unique strength.
She was smart enough to realize that this was not financially without help and could be thrown out of the house of the brothers at their leisure. But nothing was successful in winning the fortitude to Rashmoni and her will to live, and she reigned supreme in the family of his brothers. The second generation is represented by Somlata, his young wife, nervous and stuttering from a poor family that was given in marriage to the nephew of Rashmoni.
But, under its apparent fragility, Somlata has a heart of steel. Rashmoni obviously recognizes this because, although tyrannize the young wife mercilessly, it is to her that the soul of Rashmoni entrusts the precious box after death. She threatens the girl terrible retaliation if about it will say a word to his relatives who are waiting to get their hands on the casket. It somlata hide it, but it draws you to pawn some jewelry to get some money in order to open a sari shop and save so the family of her husband from financial ruin.
It also has the good sense to call it by the name of Rashmoni, placating the initial anger of the old woman for having committed his precious jewels. The soul of Rashmoni begins to live a vicarious through Somlata and try the experience of being a entrepreneur. Somlata, for its part, works very well within the patriarchal family, but negotiates the same space for herself being polite and discreet rather than aggressive. the third generation consists of Chaitali, the daughter of Somlata, who is the darling of the family.
She is modern, educated and stubborn, and she enjoys the freedom that her great aunt Rashmoni never had. It is not interested in jewels and returns the box to the mother who had given it to him on his eighteenth birthday. Finally Chaitali gives away the jewels for a cause to help impoverished freedom fighters during the liberation war of Bangladesh. So it is through changes in attitude of women towards the jewels and wealth that Goynar Baksho examines its social evolution and celebrates their indomitable spirit.