Aritra Sen’s recent flick titled Ghore Ferar Gaan (Homecoming Song) takes the audience on a journey through the complexities of love, marriage, and societal expectations. A review by Ruchira, exclusively for Different Truths.
It looks like this movie is bound to evoke a mixed bag of reactions from the general audience. Personally, I strongly feel it is an eye-opener of sorts, with the target being those husbands and mothers-in-law who are preoccupied with their personal lives, careers, and social obligations.
Consequently, they tend to ignore or sideline their bahus or wives. If you continue to behave in this fashion, rest assured that she is likely to stray. Or (looking at it from a feminist point of view), she will search for love and fulfilling companionship elsewhere. This is a bitter truth that the director Aritra Sen tries to drive home to the audience in his recent flick titled Ghore Ferar Gaan (Homecoming Song).
The story revolves around the protagonist, Tora (Isha Saha), a small-town girl who gets hitched to Ribhu, an NRI doctor…
The story revolves around the protagonist, Tora (Isha Saha), a small-town girl who gets hitched to Ribhu, an NRI doctor (Gaurab Chatterji), who resides in London with his widowed mother, Shanta (Reshmi Sen), who happens to be an influential councilwoman and socialite. Both mother and son treat the bewildered girl with politeness, yet there is a subtle air of disdain that is palpable during the trio’s personal interactions as well as the rest of the narrative. In such an environment, Tora feels restless, uncomfortable, like a fish out of water. We see her wandering off on her own, exploring the sprawling, bustling metropolis. In an ‘accidental’ encounter, she meets Imran, an immensely talented but struggling musical student from her native state back home. While she nearly sets her home on fire, the cool, and suave, Imran manages to douse the flames and restore order before the prim and proper mother-in-law arrives.
This incident fosters companionship and mutual admiration between the two of them. Tora’s latent vocal skills act as a catalyst. Gradually, as time flies by, this ‘liking’ further escalates into boundless passion, culminating in a physical relationship. But can you blame her when her spouse is shown sleeping with her solely for the gratification of his physical needs (without love)?
Suddenly, a series of misfortunes befall the duo. Imran’s father falls ill and finally dies. Quite naturally, he rushes back home to be with his mother and sister. Meanwhile, Tora discovers she is pregnant with Imran’s child. She summons all her courage and divulges the ‘Truth’ to Ribhu and Shanta, who are petrified!
Then she leaves home and manages to fend for herself, helped by a mutual friend. On the other hand, Imran decides not to return to London. He generously decides to transfer his renewed scholarship to Tora.
In a dramatic turn of events, when Imran’s family learns about the ‘yet unborn’ child …
In a dramatic turn of events, when Imran’s family learns about the ‘yet unborn’ child and the lovers’ ties, they cajole and persuade him to return to his ‘other’ home. Imran flies back with a song on his lips and joy in his heart. The film ends with a happy showing of how Tora and Imran rekindle their love!
The moral of this tender, intensely humane tale: It is best to walk out of a marriage where there is no love. Yes, it’s tough, but let not the spirit within you die…
Photo from the YouTube
Born in Guwahati and raised across Delhi and Punjab, Ruchira Adhikari Ghosh is an alumna of Sacred Heart Convent, Ludhiana. She holds a master’s degree in English literature from Punjab University, Chandigarh, and a postgraduate diploma in Journalism. With nearly 25 years of experience in print, web, and television media, she has carved a niche as a feature writer. Her writing focuses on women’s issues, food, travel, and literature, reflecting both versatility and depth.
