Director: Abhijit Chowdhury
The script: Arkadeep Nath
Starring: Jasmine Roy, Satyam Bhatacarya, Dibyasha Das,
Streaming on: Hoichoi
If the opening scenes aim to identify the main problems of a story, Shubaramb does so with great integrity. We see a little girl singing Rabindra Sangett to a boy her age – she will become a singer-songwriter when she grows up and the stage will determine her relationship with the boy. (This is a retrospective). In the next scene, we see her late for a meeting with a client called by her manager / friend who is waiting for her in front of the office of a leading jewelry brand – we will see a lot of the jewelry brand, very, to the extent that it is even in the last frame of the sixth and final episode. Self-referential film production or cinema as a regrettable excuse for product positioning? If you don’t know which one, you deserve to sit down and find out for yourself.
Which is not to say that this is the worst thing about the series (which really has a feature film divided into episodes that last a little longer than the Coke Studio song). Among other things, Subhomita, our protagonist (Roy), is too boring all the time to be taken seriously as a composer who has experienced a creative crisis (it must be more messy). She is a man who is both trying to get out of his father’s shadow as a musician – he was also her music teacher, who got away with one of his students, causing a big scandal in the neighborhood – and overcame the trauma that he was leaving the family. them. This is too difficult a topic for the show, which deals with the maturity of a series by Hoiho.
There is a good mood in the form of the actor playing Mainak, her love interest (Satyam Bhattacharya), who shows a sincere comic moment and manages to give his character a personality. But the hero, under the cover of a decent man, has problems with incel. After inexplicably offering her a ring at their second meeting in ten years – bought from the same jewelry brand, he continues to help her family during the crisis. He states that he does not expect reciprocity for his feelings for her in return, but one drunken night without consent he kisses Subhomita anyway. The problem is not that he ends up committing an act that breaks her trust – people are more complex than you think and everyone is capable of being a dick. The problem is that film guilt stumbles her to get him back.
Perhaps it is unrealistic to expect such a nuance from a show, which at best is happy to work on a superficial level without going into the psychological complexity of the premise. We don’t see anything of Subhomita’s inner music, only superficial tricks, such as the use of street noise for her song. It looks hip, but it’s just empty posing.