Creative frustration is most irritating for a viewer.When all the ingredients are right and yet the final product falls a little short of the high expectations –the feeling of so near and yet so far is like a headache refusing to go away.
The Film Autograph is precisely that.
Srijit Mukherjee’s maiden directorial venture (he also wrote the screenplay, dialogues and a lyric) started off well, meandered later on and recovered somewhat in the second half.
The story is of an aspiring debutant director Shubho(Indraneil—that’s how he writes it !!!) whose script, based on Satyajit—Uttam Kumar’s NAYAK, and called AAJKER NAYAK is approved by the famous film star Arun Chatterjee(Prosenjit) for production for the wrong reasons. Prosenjit wants to prove that a star is the essential factor in a hit and NOT anything else.He therefore chooses the script of the rawest person available.He tests Indraneil by suggesting that conventional inclusions like songs, item numbers and a villain is necessary. Indraneil responds by saying that that is not possible. Prosenjit likes his attitude and approves the project.
Indraneil is living in with an aspiring theatre actress Srinandita(Nandana). In a bold initiative,and in one of the high points in the film, the relationship between the two is shown fearlessly.The easy camarederie, the tuning and the sexual relationship is tastefully and boldly shown in a language which is realistic and modern. The viewer however is surprised how their lifestyle can be maintained without a visible source of income.
Indraneil however cannot find a heroine and finally latches on to his partner Nandana to essay the role.Nandana is terrified about acting with Prosenjit, her adolescent hero but finally consents. She acts as a spunky journalist who tries to delve deep into the persona behind the star.Even though she puts on large glasses, she is not a patch on the role performed by Sharmila in Nayak.
The relationship between the two develops through several dinner encounters.Prosenjit is haunted by his past where he has often used and thrown away his near ones.There is a forgettable and crude dream sequence which is a disastrous takeoff on Satyajit Ray’s classical depiction in Nayak, and represents the lowest point in the film.
There is now a mutual admiration and a developing understanding which leads to Prosenjit baring his private thoughts and revealing how he used and betrayed Rudraprasad (his acting guru) and an aspiring starlet.That episode is unwittingly recorded in a videocamera by Nandana. Indraneil meanwhile is completing his film and is obsessed about how to publicise this film. He is tensed, starts changing his nice-boy image and starts castigating the crew and Nandana publicly. Prosenjit displays maturity and guides the film through.
Indraneil meanwhile latches onto the video recording ,steals it from Nandana’s locker,and gives it to a TV Channel (Star Ananda). Nandana ,shocked at Indraneil’s betrayal, leaves him.She tries to explain to Prosenjit who cuts her off. Indraneil tries to reason with Prosenjit who as a Producer announces his scrapping off the film. Indraneil tries to rationalise saying that a star can brush off these minor hiccups. Prosenjit replies by saying that he can sell his smile, his face, or his characteristic postures—but he can never sell his soul. Indraneil however clarifies that Nandana was never a part of this and had already left.Indraneil walks out and contacts a parallel producer and Prosenjit’s critic and bitter rival, whom he had rejected in the past.
Prosenjit discovers that Nandana had returned his old ID card ( unrealistically left with a Dhaba boy!!!!!!) and had settled the unpaid bill.
Autograph is a different movie. It is an important movie. It is a movie which deserves a viewing. Yet at the same time, there are some extremely awkward, amateurish, cliched moments which are irritating and irrational.
First, the cinematography.Though reasonably competent with some outstanding moments, the shots are reminiscent of many previous films. Indraneil sitting in a dark studio with the light on him and the gradual entry of personnel has been used by Guru Dutt and a host of others.The hand held camera sequence in a scene with Nandana and Indraneil gives a severe eyeache and is a split second behind the actions. It is so jarring to the rest of the film, that it spoils the mood instantly. This required ruthless editing or reshooting. Some of the shots blurred occasionally (maybe it was the projection at Swabhumi INOX).
There is a fine credit introduction with a hilarious use of a sugar crane pressing machine with the appearance of the Line Producer’s name. The first half drags occasionally. The Editor Bodhaditya has done a good job. This film is an Editor’s dream and he maintains interest and precision. However fast cuts do not mean a fast pace. It is here the script fails.The reason Satyajit Ray used a moving train as a backdrop was to generate pace.
Here, there is a visible lack of actions or story progress as the interactions are mainly verbal and indoors. The film within a film concept needed more characters. We only saw an aging actor and a few hyper females.Retention of the subdued dialogue of the assistant to the Extra in the plane scene” Keep the suit well as we need it tomorrow” was one example of intelligent editing.
The high points of the film was the acting. Prosenjit surpassed himself. Probably this is his best to date. The expressions, the wonderful dialogue delivery, the timing was brilliant. Every line of his face and his expressive eyes, his muted gestures in the “confession” scene spoke and how. Kind yet ruthless, scheming and yet with inner spontaneity, his imitations and sudden questions were a treat to watch.The final confrontation with Indraneil was a revelation.With his glittering eyes, restrained violence and command, this scene makes the film complete. This is a classic performance. With the burden of comparison with Uttam Kumar, Prosenjit creates his own ,unique identity. However, it is clear that the Actor dominated the Director. In NAYAK, Satyajit controlled Uttam Kumar in the famous ego clash.
Indraneil is a brilliant counterfoil. Easy, modern, relaxed, he reveled in his role. Casual, and charming in the beginning and ruthless and cunning in the end, this is an actor with presence and intelligence.
Nandana was a bit off tune. She is not conventionally beautiful but she makes up with verve and originality.Her dialogue delivery is a bit awkward and stilted.But she has delivered the slightly wild unconventional character with sincerity. Rudraprasad, Piyush, Rathin, Biswajit, and others have done their job competently.This was veteran Dilip Roy’s last shots on film and therefore is poignant.
The music is outstanding. The lyrics penned by Srijato, Srijit and Anupam will be remembered fora long time. This is Debajyoti Misra’s best chance for a National award. The singers specially Sreya and Anupam fill the heart. Rupam is a revelation. He thinks that Beche thakar gaan is his best song to date. He is right!!! But strangely there is a mismatch in the Credits in the film and in the Website.
Overall, the film is there but not quite there. It is recommendable but not a classic. It creates moments of great beauty and involvement. It should have done more. Some of the dialogues are corny. “A man makes mistakes” !!!!! “You are my hero” !!!! Maybe there were too many advisors. Maybe it needed a more prominent Directorial stamp.
The film was watched by only 60 persons on Saptami in the 2PM show at Swabhumi Inox. But I am sure that the numbers will swell as the days progress. The film deserves it.
