Doyel Mitra shoots a close scene for an outside film that turns into a web sensation. This adversely affects her profession, individual connections and passionate life. Like Sita, does she experience an agnipariksha and turn out unscathed?
Things being what they are, beloved peruser, what would you like to think about Take One? Do you think about the acting, the course, the screenplay? Do you wish to share Doyel Mitra's anguish, as destiny rolls the shakers that sends her life into a spiral? On the other hand would you just like to know whether Swastika truly goes topless in the film?
The way you see Take One will rely on upon the inquiries you inquire. Since Mainak Bhaumik's fifth film works at numerous levels — relationship story, subversive moral story and breathtaking metacinema. Truth be told, paving the way to the discharge, as Swastika's photos in different conditions of deshabille were sprinkled in the media, there was a genuine peril that the "breathtaking" piece would wipe out every single other verbal confrontation about the film's legitimacy. Whether it was exposure turned out badly — or right — is not something an audit ought to talk about. So we won't talk about it.
In any case, once you quit wasting time, Take One elevates you and crashlands you in parts. Mainak blends reel with genuine fairly well here, utilizing the narrative of Paoli's travails amid the shooting of Chatrak as the film's hopping off point. Pretty much as Paoli's cozy shots from the film had turned into a web sensation, performer Doyel Mitra (Swastika) does a simulated intercourse in an outside film that raises a tempest at home. The level headed discussion gets significantly more warmed — and unexpected — since Doyel's next film makes them play a current elucidation of Sita. Her one follow up on screen turns into the touchstone for individuals to judge her character, her parenthood, her trustworthiness — to be sure, her life.
In a creator sponsored dream part, Swastika is just the heart of the mandala in Take One. She plunges into her limitless pools of enthusiastic stores and past experience, reviving Doyel's character. There are lines of force — like her slow breakdown as she rehashes to herself and to the world: "I am her mom"— yet what works far and away superior are her hushes, which clear over Doyel in influxes of sadness. Her sluggish, dim eyes say a lot and she's frequently seen considered surfaces — mirrors, metal, glass — each adding another measurement to her numerous parts: mother, little girl, performing artist, enchantress.
Once more, reel meets genuine here as Tushi, Doyel's girl, is played by Anwesha, Swastika's own little girl. Together on screen, both are easy, rising with giggling and vitality. As mother nestles and embraces girl, you ponder who both of them are, Swastika-Anwesha or Doyel-Tushi?
Where Take One endures is in its narrating. In working up Doyel's contentions, Mainak loses the plot, in a manner of speaking. The film stays bleak and turgid from scene one to the end credits. There is no genuine develop, no viable end result. You get the opportunity to see so little of Doyel's back story. Does she miss her dead spouse? Aren't there any companions throughout her life? It is safe to say that she is ever frail about her vocation? Perhaps a few answers would have made a difference. Interestingly, a percentage of the littler characters — Arindam Sil as the windbag chief, Rita Koyral as Rahul's mom — are strongly scratched out notwithstanding their bit parts.
For a film that hopes to investigate the part of the media, Take One wrecks up the examination. Abhik ( Rahul), the independent writer pursuing Doyel for a meeting, is called to a newsroom that looks like a corporate meeting room and has — hold your breath — a singular columnist staying there. In the event that you overlooked what's really important, behind him is a whiteboard with 'softening news' composed up two dialects, Bengali and English! Be that as it may, what's inexcusable is the thing that happens when Abhik at last gets the meeting.
This is developed as the cathartic point: Doyel will open up to the world and Abhik will satisfy his undiscovered dreams. Be that as it may, on screen, the climactic meeting transforms into a two-minute Bong station examination, where Abhik sits in as Doyel's still, small voice manager. That is to say, it was his meeting, for Chrissake!
Be that as it may, these are blips. You get over them and understand that the film holds its own particular on the grounds that in picking his subject, Mainak has broken new ground. Swastika is dauntless, dropping even the base layer of cosmetics for a great part of the film. Furthermore, taking off over the show, on wings of excellence, is the film's music. Mayookh Bhaumik take a bow!