Bioscopewala, a savvy, moving version of Rabindranath Tagore’s Kabuliwala. The film is a tribute to the cherished short tale about Rehmat Khan, an Afghani Pathan, who shapes a delicate bond with a five-year-old in Kolkata who helps him to remember his own girl back home. Read my Review here:-
The filmmaker Deb Medhekar utilizes that through-line to post vault into this variant, transforming the Kabuliwala into a Bioscopewala (played by Danny Dezongpa), who gets to know the youthful Mini, even while acquainting her with the enchantment of film through his bioscope. Recollections of his own little girl and of Minnie is the thing that keeps him alive in prison. He’s lost quite a bit of his psyche, however, recollects Minnie’s home, coming back to it subsequent to being discharged from imprisoning. The young lady whom he becomes friends with has overlooked him yet as she researches, she sorts out his past as well as recollects recollections covered under the surface, discovering intends to a conclusion to her own particular fragile association with her late father.
There are layers of this film we peel one by one as the story unfurls. It starts as an adult Mini (Geetanjali Thapa) is thinking about a sudden catastrophe. Her dad, well-known photographer Robi Basu (Adil Hussain), has passed on in a plane crash, on his approach to Kabul. Mini is now a movie maker in France, is attempting to get his last remains and do the last rituals, even as she works her own particular demons over the offended relationship she imparted to him. Amidst this, she finds that she currently has a care of Rehmat Khan, discharged from jail and enduring memory loss. Mini is resolved to get to the base of Khan’s story – where he originated from, how he arrived in prison, and the family he deserted.
Danny Denzongpa plays Rehmat Khan, the Bioscopewala of the film and truly gets under the character’s skin. It’s difficult to separate where he finished and the character started. The film is shot on an area in Kolkata and Ladakh which is utilized as a cheat area for Afghanistan. Cinematography by Rafey Mehmood is right on the money as it enlivens the bylanes of ’90s Kolkata as well as by one means or another transforms Ladakh into war-torn Afghanistan. The art direction is praiseworthy also. The film conveys to see the way that a great part of the magnificence on the planet is being lost through religious scorn yet in the event that we stop and think and perceive the way that underneath everything, we are one, at that point much can be spared also.
The film is an affection letter to the silver screen and an effective articulation against fundamentalism, as uncovered in flashbacks to Rehmat Khan’s run-ins with the Taliban back home in Afghanistan. There is a tip to woman’s rights too in a plot-point including Tisca Chopra‘s character Waheeda, and her brush with ‘burkha boxing’. It may appear like a great deal to pack into a film that runs barely an hour and a half, however, Bioscopewala is tight and pleasantly holds these components together. There are the phenomenal exhibitions from Geetanjali Thapa, Adil Hussain, and particularly as I said before, Danny Denzongpa who comes back to the screen, playing Rehmat Khan with both heart and heave. After so long, despite everything he charges your consideration with those extreme, puncturing eyes, even when he isn’t letting out the slightest peep.
Set aside a few minutes for Bioscopewala, it’s a profoundly influencing film, instilled with a waiting adoration for the silver screen. Watch the film If you aren’t disinclined to encountering an advanced interpretation of a work of art. You may leave away astounded.
My Rating 3.5/5