Ruchira reviews “Ei Raat Tomar Amar”, which explores love, regret, and resilience as an elderly couple confronts life’s truths on a stormy night, exclusively for Different Truths.
Recently, there has been a surge of films focusing on contemporary social norms and trends, which are quite rampant these days. Themes such as loneliness, self-help, couples facing empty nests, and widows/widowers are frequently explored. Filmmakers and directors are honing in on these phenomena. While this trend might become somewhat monotonous, the undeniable fact is that interest in these topics is escalating rather than declining.
One of the latest films to join this bandwagon is “Ei Raat Tomar Amar,” named after a famous song famously sung by the legendary Hemanta Mukhopadhyay for the Bangla (B/W) film “Deep Jwele Jai.” The Hindi version of this song can be found in “Khamoshi,” where it is titled “Yeh Nain Darey Darey.”
Now, let’s delve into the film. In “Ei Raat Tomar Amar.” Anjan Dutt and Aparna Sen share screen for the first time ever, as an elderly couple. Anjan plays Amar Dutt, whose only son is shown settled in London. Amar is disgruntled because his son chose not to follow his wishes to pursue an MBA and then the family business; instead found comfort in a position at a publishing house in London.
Directed by Parambrata Chattopadhyay, the film intimately explores the nuances of a long-term matrimony. With the greater part of the narrative unfolding in a North Bengal tea estate, the happenings are those of a stormy night as Amar and Joyeeta (Aparna Sen) celebrate their 50th wedding anniversary. Despite being terminally ill, Joyeeta refuses to let go of her zest for life, while an ageing Amar feels overwhelmed by the responsibility of caring for her. He hesitates to reach out to their estranged son Joy for help, even as Joyeeta’s condition worsens throughout the night. Nonetheless, Joyeeta is determined to make the evening unforgettable for her husband. Much to the viewers’ surprise, she dons a wig, wears a pretty sari, with Sindoor bindi and accessories to boot – all of these giving her the appearance of a vivacious, happily married elderly wife and mother.
As the evening drags on, the duo converse over dinner. Her fatal ailment notwithstanding, Joyeeta liberally helps herself to whiskey. When both get a tad sloshed, long-buried secrets begin to resurface, compelling the couple to confront unspoken truths and suppressed emotions. Thus, the film raises poignant questions about the nature of commitment, the sense of regret, and the potential for forgiveness. We begin to wonder: Is love a steadfast force that withstands the ravages of time, or does it evolve into a comfortable habit that masks unresolved tensions? We begin to ponder these issues, which offer no easy answers but provide material for contemplation. Regarding individual performances
Anjan Dutt, the veteran that he is, effectively portrays a senile man confronting his physical and emotional limitations while striving to live up to his role as a caregiver. Sen, as Joyeeta, portrays a woman facing her mortality with grace and resilience. She skillfully balances vulnerability and strength in her interactions with her spouse, reflecting the depth of their shared life. It is heart-wrenching to observe how, even as life seems to be ebbing out of her frail frame, she makes a last-minute attempt at reconciliation between the two most important men in her life.
The young Parambrata’s direction is at once sensitive and steady, allowing the characters’ follies and vulnerabilities to come to light. Moreover, a pervading sense of isolation — a weather-beaten cottage in the middle of nowhere, a fire-lit living room with only two souls, a rat in a mousetrap trying to break free — effectively underscores the theme of helplessness before an inexorable fate.
Picture from IMDb
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Well written: thank you for a good read!