Bayescope

When I was a child Bioscopes were still there along with cinema halls. Often fairs would have these, somewhere around the circus tents.

The circus anyway are probably in IUCN Redlist (CR), the Bioscopes most probably have taken a lead and already joined Dodo. I don’t know whether villages still have a few of these.  Though what I am going to write here on are not Bioscope movies, they are too bulky for those poor fellows to load or drive the reels through, but since most of these are from those “Parallel Cinema” age, I am using my “Artistic freedom”. This phrase “Artistic Freedom” and “Freedom of Expression” itself is misused for doing anything, may be including murder, and then taking shelter under it. I am at least not going to that extent, except may be a brutal assault on the language.

Anyway in our childhood, these non-biosopes too would be called bioscopes at least by my mother and of course grandmother. Probably both the parents used this term but of the other gender I am not so sure, whether he talked about these or not. Of this subject, the only thing I remember was his not appreciating our sitting glued in front of the radio (A big black Bush with those ribbon antennae and a green cat’s eye tuner light) listening to Radio Ceylone (Later to become Srilanka Broadcasting Corporation’s Videsh Vibhag).

I hence don’t feel guilty to use the word for movies, after all it is a word from mother’s tongue. The word Cinema came a bit later and now even that word isn’t in use. We don’t even have now cinema-halls in metropolitan cities, all are multiplexes.

The misspelling of the word is deliberate, another freedom of expression facility I am misusing , may be I should copyright it 🙂 , this is approximately the way we used to pronounce the word   (বায়েস্কোপ

This is the page of Bengali movies, I am trying to avoid the movies that in extensive limelight, and concentrating on the one that had not been so well covered. Surprisingly some of them are excellent movies.

But this excellence or not is subjective, so I will say there are movies I consider to be excellent.

This excellence is what I will say based on multiple angles,

  • The story is a novel one, may be even old but presented in a novel way?
  • How did the director translate the movie into celluloid? Did it have unnecessary slowing down, diversions (forced comedy, songs,…) or speed-up (especially to bring the climax when the reels allocated get finished)? 
  • Did the main actors integrate themselves to the role?
  • Did the supporting actors did that?
  • How was the flow of the story, was it gripping or boring , if so how much of it? 
  • How was the initial phase, the character build-up? Did the director take sufficient care to define it? It could be modified in the mid stages too.  
  • How much is the probability index. If a person is exposed to a circumstance, will he normally behave that way? It also relates to the way the character had been shown.

There may be a lot of other factors which impresses or depresses the movie for me, as I recall I will keep on adding them.

1973- Basanta Bilap – Soumitra Chatterjee, Aparna Sen, Robi Ghosh – impressive cast, going along with that so many reviews going ga-ga over it made me watch it. Unfortunately I would completely disagree with the mass (the colour code of the para too says so). I would rank it at Average(minus) i.e. between bad and average. There are too many loopholes in the movie, which I would have overlooked, if I treat it as a Kishore Kumar style movie making. It is a too predictable masala movie, with funny things thrown around. In an out and out fun movie like Golmaal (original one of Utpal) we know that the logics are to be thrown aside, the actors with their acting style induces the viewers. But here there were two good actors, Aparna and Soumitra, who both essayed serious roles  in that case the loopholes in their depiction of the characters are not acceptable.

Horrible, Bad, Average, Good, Excellent

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