Chauranga Movie Review



Movie Review : Chauranga Movie
CAST: Sanjay Suri, Arpita Pal, Soham Maitra,Tannishtha Chatterjee
DIRECTOR: Bikas Ranjan Mishra
GENRE: Drama
DURATION: 1 hour 27 minutes

STORY: Even in today’s day and age, a Dalit lady named Dhaniya (Tannishtha Chatterjee)) and her children keep on fighting for essential human rights. Conquering the brunt of cast governmental issues, she charms the nearby Zamindar (Sanjay Suri) to win a protected life for her family.

Survey: Chauranga is a tirade that rages without determining an answer for the issue it addresses. In spite of being a well meaning anecdote about the numerous “isms” that torment India, the film’s account neglects to investigate the elements of progressive system legislative issues that is the heart of the issue. Chief Bikas Ranjan Mishra appears to be excessively occupied in his narrating, which makes the film silly. You are never permitted to put entire heartedly in the characters. For this situation, the viewer is decreased to being a unimportant observer who is never completely assimilated or overpowered by what plays out on screen. Abominations on dalits in India is a subject that producers have as often as possible endeavored, however Chauranga does not have a stubborn voice.

The agitator youngster Santu (Soham Maitra) is the special case who draws you towards the dreary story. There is a noticeable spunk in him. His grouse towards life, his longing for the love of his lord’s little girl and his disrespectful mentality has a striking relatability. Soham, in the creator sponsored part, suffuses an invigorating vitality to the plot. In a delightfully naughty scene, he boldly enters the beyond the field of play sanctuary premises and rides the Nandi bull. In a generally unremarkable film, Mishra gives us this one character to pull for.

There are minutes where Chauranga gives you the Masaan feel, however does not have its verse and profundity. Its ladies characters in this film are pitiable. Be it the dalit lady Dhaniya who needs to satisfy the Zamindar’s desire to win her children a ticket to a superior life or his own particular spouse and little girl, who prowl around like shadows in his chateau, the ladies are all independently uni-dimensional.

Chauranga is neither provocative nor able in its depiction. In spite of the fact that its last scene introduces a beam of plan to invalidate the frequenting violent looks from the film, it never takes off sufficiently high to influence you