Movie: Bulbbul (2020)
Director: Anvita Dutt
Actors: Rahul Bose, Tripti Dimri, Parambrata Chatterjee, Avinash Trivedi
Let’s travel back in time, go back to the picturesque grand havelis unfolding to the tune of Robindra songeet, to the reclusive zamindars and the regal women, who cover their sorrows with silks and gold. Have you been transported to a Sahib, Bibi and Gulam era? If yes, then you will be hit hard by nostalgia as this lost-in-time premise and its people are revealed in the Netflix movie, Bulbbul.
Set in Bengal Presidency in 1881, the titular Bulbbul is a child bride who grows into a woman and more, through the course of the movie. Bulbul is a bird, and this Bulbbul, who would rather be perched on trees, gets trapped in the golden cage that is her married home.
Bulbbul, saddened by the absence of her husband, and comforted by the presence of a younger brother-in-law and his stories, reminds one of Satyajit Ray’s Charulata. But with the exception of this trope, Bulbbul is diametrically opposite to Charu. Still being a child, Bulbbul has not developed or given to the idea of sanctity of marriage. She is also more fiery compared to the earthy Charu. That is why she actually rebels, rather than be bent and torn by guilt. And when tradition manages to ravage her body, it only tempers her spirit. Tripti Dimri as Bulbbul exploits the vulnerability and strength of her character, doing full justice to the camera that cannot look away from her.
Rahul Bose explores the duality that has stemmed through this deeply feudal, patriarchal system. The silence of the haveli is echoed in the silent, stately presence of the zamindar, Indranil, and its perversions and madness are expressed in the mentally disabled, Mahendra. And in essaying these two roles, Bose reminds us why he is one of India’s truly understated actor. Satya, the younger brother-in-law, is the so-called face of modernity, but only time will tell if the Western education has managed to get under the skin and the psyche.
Anoushka Sharma, as a producer, has been consistently proving to be open to new and promising directors, as well as new artists. She makes a return to the paranormal genre after Pari and Phillauri. Anvita Dutt, the writer and director of this movie. Before this, she has worked as a lyricist on many movies, and her lyrics in Phillauri and Patiala House were specially impressive for me. She makes an impressive debut, as she weaves this drama with ease and does not get trapped to the limitation of the horror genre. Paced leisurely but still tightly paced, it allows the actors to completely explore their characters, without slowing the movie.
All this set to a haunting background music of Amit Trivedi, completes this resplendent movie. Yes, comparisons have been made with Tumbbad for its lost-era visuals, but be trusted that the motivations of these two movies are entirely different. As such watch this movie, not for its jump-scares, not for violence, just for its journey of womenhood.
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