There has been numerous films that deal with marital infidelity. Based on the same theme where Dosar is strikingly different is that it does not give a judgmental view of the subject. It does not try to tell you what is good and what is bad, what is right and what is wrong. It does not take sides with either of the protagonists. It tells a story with very familiar happenings and yet one likes the film due to the treatment.
Shooting the film in black and white does not seem to be a gimmick. In fact I feel black and white especially in such a film ensures you focus on the robust emotional element rather that being distracted by so many details colour brings to the frame.
The story revolves around Kaushik (Prosenjit) and Kaberi( Konkona Sen Sharma), a happy couple until a car accident takes away Mita, Kaushik’s mistress and leaves Kaushik heavily injured. Mita, a mother of a little boy and living with her husband, was Kaushik’s colleague. The revelation leaves Kaberi shattered and she retorts. Kaushik successfully moves on with life leaving Mita behind and tries his best to repair the severely wounded relation with his wife. There is another couple in the film- Brinda (Pallabi) and Bobby (Parambrata), engaged in another extra-marital relation. While Bobby is a bachelor, Brinda, quite older than Bobby, is unhappily married. They and Kaberi do group theatre together. Brinda-Bobby comes to a crossroad when Brinda becomes pregnant and Bobby is not sure whether the child is his or Brinda’s husband’s. However he does not turn back and stands by Brinda in sorting out her issues.
The film basically shows that marital infidelity is quite common and looks at different situations in it. Like a) When the secret is revealed and Kaushik faces life, b) Mita’s husband has to keep his anger against his dead wife within himself, c) Bobby and Brinda stick to each other in the difficult times, d) A couple of days after his wife’s death Mita’s husband brings a hooker (Maumita) home to satisfy his sex hunger.
The casting is brilliant and indeed it is Rituparno’s core competence like many others. Konkona looks credible as Kaberi. That role required maturity which Konkona displays in the right degree. Prosenjit is impressive. His preparation is visible in the realistic portrayal of Kaushik. Tota as Kaushik’s colleague, Saswata as his brother, Biswajit as his boss and Mithu as Kaberi’s mother have done good job. It’s a mystery why commercial Bengali cinema faces a talent crunch in character roles despite such good actors being around, working mainly in television.
Due credit goes to Abhik for painstakingly crafting the brilliant look and feel of the movie. A tall feat considering his nil experience in B&W cinematography in feature films. Abhik was also the lensman for Bunti Aur Babli and is credited for making the film shot entirely on Indian locations look no less attractive than the ones shot on foreign locations. Only a master cinematographer can do that. Planman has done a praiseworthy job in ensuring the director gets enough raw stock which is rarely found these days. The entire stock had to be imported from abroad from Kodak.
The background score, by a newly formed band called 21 Grams, is minimal and compliments the subtleties of the scenes especially those between Prosenjit and Konkona. Arghyakamal Mitra’s brilliant editing never allows a scene to stretch, a possibility with this kind of a film. Chandreyee’s rendition of the soul Rabindrasangeet is pleasant.
Only the ending looks weak, basically because it is abrupt. The ending in itself is fair enough and realistic, but a build-up was required to make it look seamless. I found Rituparno indecisive only in this place. He seemed to be struggling to bring a rational conclusion. However this does not make the film less captive.
After Antarmahal Rituparno is back to today’s urban life and the master touch is quite visible. Dosar will be a valuable document among all the memorable films made on marital infidelity in India and abroad.