FILM REVIEW: THE DIARY OF WEST BENGAL

"The Diary of West Bengal" is a book that will overwhelm your senses. The story is uninteresting, and the acting is subpar, which makes it tough to watch. In spite of the fact that the film makes a significant political statement, it does not have a great deal of cinematic worth, which is why it is remarkable that it was even released in theaters. In light of the fact that it fails to pique the interest of viewers on any level, they are left feeling frustrated and let down. Ultimately, it is a complete and utter waste of time. Suhasini Bhattacharya, a Hindu woman from Bangladesh who must flee when her parents are murdered in a genocide, is the protagonist of the film. Arshin Mehta plays the role of Suhasini Bhattacharya.

In spite of the fact that Islamic extremists provide her with assistance in traversing the Sundarbans, their true objective is to convert her to Islam and boost the number of votes that the political party in West Bengal needs to win the next election. Atik Khan, who performs under the Hindu moniker Prateek, is the brother of Mahmood, who is portrayed by Deepak Kamboj. Yajur Marwah plays the role of Atik Khan. After some time has passed, Suhasini comes to the realization that the people who she claims to have supported her are not who they appear to be. This realization ultimately leads her to convert to Islam.

Even while the film makes a clear attempt to be political, the film's cliched narrative and terrible performances overpower all else that the film has to offer. In spite of the fact that it makes an effort to capitalize on the contemporary significance of Rohingya Muslims and the political climate in West Bengal, the poor directing eliminates any possible impact that could have been otherwise achieved. The performances are an underwhelming disappointment throughout the entirety of the film, since none of the characters make an impression that is memorable. During the course of his portrayal of Suhasini, Arshin Mehta makes attempt after attempt, but none of them are successful. The overall impact of the film is diminished as a result of the emotional struggles that Yajur Marwah will experience in his portrayal. When it comes to acting, the vast cast does not live up to the requirements, and the clunky dialogue just makes the situation worse. In addition, the screenplay is filled with glaring inconsistencies, such as the absurd scenario in which a reporter takes on the role of an anchor only due to the fact that they have a scoop. The film is unable to overcome its many shortcomings because it is accompanied with art direction that is of a substandard quality.

Due to the multiple issues that are present in the picture, a story that could possibly be significant is undercut. We can only hope that the director was able to produce something that was at least a little bit watchable. Despite the fact that the play barely manages to leave the necessary effect on the audience, they eventually become uninterested and apathetic to what is taking place subsequently. Certain portions of Sanoj Mishra's chats are fantastic in their own right. Arshin Mehta does an excellent job while playing the role of Suhasini Bhattacharya. here im flashing on her acting not the film screenplay.

Neither Yajur Marwah nor Prateek/Ateek Mehmood are particularly noteworthy. As for Deepak Kamboj, he does a satisfactory job in the role of Mahmood. Within the context of her role as Pragya Shukla, Neet Mahal provides support that is satisfactory. When he is Vishal, Dev Faujdar is not very good. Deepak Sootha portrays Bhupendra Sarkar, a typical individual in the role. Waseem Rizvi is portrayed by India's Jitendra Narayan Singh. The remaining persons, including Gauri Shankar, Abhishek Mishra, Garima Kapoor, Alfiya Shaikh, Mukesh Agrahari, Priti Shukla, and are having a difficult time making it through this. It is not unreasonable to assume that Sanoj Mishra is in charge.

Despite the fact that he has preserved the drama's bleakness, it is not really helpful because it does not provide any pleasure or the emotional importance that it should. A.R. Dutta's music is not particularly noteworthy. There is nothing particularly noteworthy about the lyrics, which were penned by Samir Shashtree, Kundan Vidyarthi, Deepak Noor, and Sanoj Mishra. It is difficult to argue that Nirmal Kumar's choreography is worthy of a distinct examination. The music that Sanju Kumar plays in the background is satisfactory. The camerawork that Satyapal Singh does is satisfactory. All of Yameen Khan's stunts and action sequences are lacking in intensity. The work of Sangeeta Kwaradi and Bhupesh Salaskar, who are responsible for the visual direction, is flawed. Ranjeet Prasad's work contains a number of unexplained editing errors that have not been completed.

Due to the fact that I have stressed a great deal of information regarding this film, I do not wish to reveal too much information about it. There is not much that can be said about this film other than the fact that it is only available to people who attend to the theater. Despite this, filmgoers will still be interested in watching it because it contains some really violent scenes that are not even blurred. And a huge film is set to be released the following week. There may be a great deal of difficulty in making the movie available through over-the-top (OTT) distribution, despite the fact that this is a pressing issue.