Jalaler Golpo (or) Jalal’s Story (Bengali, 2015)

Story telling is accentuated by using cinematic techniques such as deep focus cinematography to highlight important sections in the frame. For example, characters in control of the proceedings are kept near the camera in a deep focus frame while the others are kept farther away. All of them remain in focus so that scenes are seamless without needing cuts to show each character’s reactions.

Humour is interspersed enjoyably in the story while taking pot shots at superstitious beliefs across different sections of the society. Ranging from turning coincidences into miraculous or cursed events to opportunistic godmen performing juvenile rituals to appease gods, many of them are too hilarious apart from provoking thought.

A noticeable pattern is religiously observed in the narration of each phase of Jalal’s life. Lots of hope and joy to begin with and a deluge of sorrow to end each phase. But still it is not predictable as the moment of reversal is not revealed, which augurs well for the experience which keeps us guessing till the moment arrives.

The supporting character arcs are not well established and just rushed to the point when they become relevant to the central character, Jalal. The reason why the captive girl in the grownup Jalal’s story decides to embrace her fate is not convincing enough to be a case of Stockholm’s syndrome and leaves us wondering. Similar observations can be made on the Jalal’s step mother in the second phase of his life where her bonding with Jalal in the end seems far-fetched.