Srikanto review: This modern retelling of the classic novel is a radical experiment that attempts to reinvent the journey of love

3/5

Story

The cult classic novel Srikanto is written by Sarat Chandra Chattopadhyay and is considered an epoch in our cultural history who published several books which were later adapted for the screen in multiple languages.

In this modern, musical retelling, Srikanto, is a naïve, innocent teenager from suburban Kolkata who is truly, madly, deeply in love with a girl called Rajlokkhi, who is elder to him. But the feelings largely remain unreciprocated. After a few memorable, blissful and romantic encounters, Rajlokkhi’s family moves to the city and the connection is lost which affects Srikanto massively and shatters his life completely. He immediately turns into an aimless drifter, a passive spectator of his own life.

Years later, Srikanto comes across an enigmatic, mysterious diva called Priya and they strike up a strange bonding which later turns into an affair when Priya discloses her real identity. It starts off on a romantic note but the journey gradually turns into a ground for common suffering for both of them.

Review

It must have taken a lot of guts for the director Sani Ghose Ray to have helmed Srikanto. However, Ray steers clear from a periodic piece and instead reworks the story, setting it in today’s time.

The age-old tale of classic defeatism is brought to a refreshing new high and it adds modern substance and considerable strength to Rajlokkhi’s point of view. She’s fearless in her commitment and is sexually liberated. Srikanto rises from the deep abyss he has gotten into with rehabs, alcohol and drugs when he meets Priya. But the narrative aggression, recklessness, exuberance and conflicting sensibilities burn away the tender romantic hearts.

All the performances are uniformly impressive and the interpretation looks almost immaculate. Sohini Sarkar looked absolutely gorgeous and rendered a believable performance while Rishav Basu played the modern Gen-X eye candy.

The flashback story appears innocent, relatable, and taut. However, the present loses its punch somewhere in the middle. The screenplay loses focus a wee bit and the narrative moves at a snail's pace sometimes.

But the musical treatments and the trick of cutting down verbal diarrhea through jazzy cuts look smart and appealing. Especially when Srikanto’s avatar slides down the precipice and pushes himself into an insane deliriousness. Srikanto has its disturbingly brilliant moments when it turns into a dark, psychological telling.

The childhood portions successfully encapsulate a feel-good, innocent, uninhibited journey and trigger occasional nostalgia of the first crush filled with blind obsessions and undying passion. Angana Roy (young Rajlokkhi) and Sukrit Saha (young Srikanto) deliver brilliant performances and Arunava Dey (Indro Da) played the quintessential ‘parar dada’ with eye-catching elan.

Technically Srikanto excels and genuinely sets a benchmark. The cinematography by Soumik Haldar is clean, innovative, and enjoyable. Puducherry is one of my favorite holiday destinations and the picturesque frames triggered my obsessions once again. The entire color palette provides a calming satisfaction. The screenplay and dialogue by Utsav Mukherjee establish identifiable images for the characters.  

Sanglap Bhowmik did a good job with editing and a very special shoutout goes out to the entire music team. Music and lyrics play an integral part in the show and the beautiful minds behind the team of Srikanto did a fabulous job and merit special mention.

Verdict

Overall Srikanto is a promising attempt and the entire presentation is satisfying for the senses. It is a journey of naïve unrequited love mixed with dark, disturbing subplots which will entertain and engage the audience effortlessly. And if you’re a fan of romantic tales, then you’re going to enjoy the journey of this unlikely hero.