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Among these friends is Vijay (Darshan), in love with his childhood sweetheart, Kaveri (Rachita Ram) who migrates to Switzerland along with her father (Ashok). Though the story of Bulbul is quite a cliched one, more often seen in Telugu films, the family drama is all about a few thick friends settled in different locations who decide to come together after a gap of 10 years. It’s a touching reversal – and a reminder that we are the stories we tell.Darshan, in a lover boy image has delivered his part in style and elegance. It ends with her taking control of that tale. The film opens with Satya soothing Bulbbul with a scary story. Over tenderly drawn passages, we get a sense of her entire life, from a child in a palanquin to the empress of a palace. It’s a striking central performance, distinctly fraught and evocative in the two timelines of the story.
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His luckless sleuthing becomes a joke for the grown-up Bulbbul, played with leisurely ease by Tripti. Paoli Dam is fetching as the green-eyed Binodini, voicing her character’s hurt in a scathingly written scene.Īvinash’s Satya is less intricate than the embroidery on his waistcoats. Binodini and Mahendra - Bulbbul’s in-laws - are also characters in Tagore’s Chokher Bali, another novel about patriarchy, child marriage and the exploitation of women. The languorous rhythm of Satyajit Ray’s film is evoked in one scene, with characters idling in a mango orchard and Bulbbul on a swing. The literary companionship at the heart of the story is a likely nod to Charulata (the original Rabindranath Tagore novel, Nastanirh, was also written in 1901). Amit Trivedi’s score underlines this wonderfully, with aching strings and a playful chorus. We see glimpses of a stolen childhood, and it is through the tumultuous wrenching of these characters that the film achieves its payoff. Despite the horror story along the edges, the narrative is pivoted on the relationship between Bulbbul and Satya. Siddharth Diwan’s camera slides through walls like page-turns. Its simple story is chopped up and told through emotionally-resonant flashbacks.
Bulbul kannada movie review series#
Years later, when Satya returns, he finds her lording over their ancestral manor, her solitary existence shadowed by a series of murders (ascribed to the feared and arboreal chudail.)Īnvita’s film has the allure and vividness of a fairytale. When their closeness spelled trouble, Satya was sent off abroad and Bulbbul was abandoned by her husband. She was married off as a child and grew a close friendship with her brother-in-law Satya. Bulbbul (Tiptri Dimri) is the young, forlorn wife of a rich zamindar (Rahul Bose). It sings of clipped wings and feet, capturing the injustices of a feudal world built on the subjugation and enslavement of women. What happens next serves as a prelude to the film’s revisionist gaze: a young aristocrat, dismissive of his roots, getting sized up by his past.Ī slender mix of supernatural horror and social commentary, Bulbbul - produced by Anushka Sharma and out on Netflix - is a bewitching tale of trauma and heartbreak. He gets down to check while Satya nods off in the back. Satya laughs it off, but his coachman is tense. As they cross a dark forest, he’s warned about a chudail (a female tree-crawling spirit). Satya (Avinash Tiwary) is returning home after finishing his studies in London. Imperious zamindars ruled with a heavy hand, orthodoxy and superstitions were rife, and the provincial hush of the era hid tales of unspeakable violence.Īll of which is effortlessly distilled in an early sequence in the film. In the interiors, though, the old ways persisted.
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It was a time when the Bengali Renaissance was at its peak, with Calcutta the seat of great social and cultural change. Though the film doesn’t pause for historical context, the turn of the century setting isn’t incidental. Anvita Dutt’s Bulbbul begins in 1881 and picks up twenty years after.