User reviews

What kaushik ganguly brings in this poignant tale of human relationships is relevance, I would even go to length to say that it feels somewhat like poetic realism. The characters converse in this film with heavy emotional and realistic undertones simultaneously, which is a remarkable achievement. People in real life don't talk like his characters do, despite the dialogues not seeming heavy-handed.

Kaushik Ganguly's film could have easily fallen into a melodramatic trap owing to the story it deals with but he skillfully avoids it with a measured and mature screenplay. The way he creates emotional turmoil, guilt, anguish, and anger among the characters is what makes the film an engrossing watch. The intimate frames, the cautious and sensitive camera movements, atmospheric lighting of scenes make almost every scene meaningful. The contrast of characters between Churni and Jaya makes their interaction scenes brimming with brilliance. The still relevant social disadvantages of being a woman in a patriarchal society are brought upon sensitively, it doesn't have a preachy tone,rather it comes off quite organically. Despite dealing with such a serious issue, the film has its humorous moments which are so beautifully placed and staged, that it doesn't seem feel to forcefully fed in.

The writing also makes space for crucial supporting characters. They don't feel like catalysts for the leads to go on, be it Damini Benny Basu or Kaushik Sen or Ambarish Bhattacharya, or Lily Chakravorty. The relationship between a wife and mother-in-law has rarely been shown in Bengali films this way as this one does, one of my glorious takeaways from this film. All the female characters here are written with a true sense of feminism, what it is supposed to be. You don't have to belittle anyone to make another person superior. Despite being a social commentary against our society, it doesn't blame anyone, the film tells us through various ways not to lose humanity and not to engulf ourselves in egoistic tendencies.

The performances are top-class, Jaya Ahsaan and Churni Ganguly are mavericks, its difficult to choose the better performer between them. Churni's acute command of her skills clashes with Jaya's undeniable screen presence and range. Lily Chakravarty's role is also written brilliantly and she acts like a true veteran. Ambarish's role also speaks for his performance, he has made his presence felt every time whenever he is in. Kaushik Sen and Damini Benny Basu also impress in their brief but remarkable appearances.

Ganguly's last two films have suffered a second-half debacle, which I also feared from this film. But Ardhangini gets more intense after the interval as the complications increase and many perspectives come into the light. The first twenty-thirty minutes of the film tests your patience and the narrative remains flat during that period and could have been trimmed shorter.

The music sometimes feels overburdened in some scenes but it gets better as the film progresses.

A true human drama delivered by one of the finest filmmakers of Bengal with very few hiccups.

Ardhangini - A Riveting Tale Unveiling Male Ego and Female Struggles

Introduction:

"Ardhangini," a Bengali film released in June 2023, delves into the deep-rooted issues of male ego, the plight of barrenness in women, sex determination tests, female foeticide, and the sensitive subject of male impotency. With its thought-provoking narrative, the film shines a spotlight on societal taboos and challenges prevailing in our modern world.

Synopsis:

"Ardhangini" takes us on an emotional journey, intertwining the lives of its characters who face the harsh realities of male dominance, fertility struggles, and the consequences of societal expectations. The film brings to light the suffering and strength of women trapped in a society that often fails to acknowledge their struggles.

Exploring Male Ego:

One of the central themes of "Ardhangini" is the depiction of male ego and its impact on relationships. The film artfully portrays the toxic manifestations of male ego, showcasing how it stifles women's voices and restricts their freedom. Through nuanced performances, the characters illustrate the destructive power of unchecked male dominance and its repercussions on marital harmony.

Barrenness and Female Struggles:

The film delves into the sensitive issue of barrenness in women and the emotional turmoil it brings. It sheds light on the societal pressure faced by women who are unable to conceive and the resulting stigma they endure. "Ardhangini" poignantly portrays the pain and desperation of these women, challenging societal norms that define a woman's worth solely by her ability to bear children.

Addressing Sex Determination Tests and Female Foeticide:

One of the most powerful aspects of "Ardhangini" is its unflinching portrayal of sex determination tests and female foeticide. The film exposes the dark reality of how gender-based discrimination begins even before birth. It serves as a wake-up call, urging society to reflect on the consequences of such practices and the importance of valuing every life, regardless of gender.

Tackling Male Impotency:

In a bold move, "Ardhangini" confronts the taboo subject of male impotency. It portrays the emotional turmoil faced by men struggling with this issue, shedding light on the stigma and societal pressure they experience. By breaking the silence surrounding male impotency, the film aims to foster understanding, empathy, and open dialogue about this often-neglected aspect of reproductive health.

Conclusion:

"Ardhangini" is a powerful and thought-provoking Bengali film that fearlessly addresses pertinent social issues surrounding male ego, female struggles with barrenness, sex determination tests, female foeticide, and male impotency. The film's engaging narrative and compelling performances serve as a poignant reminder of the need for societal change and a call to break free from the chains of gender-based discrimination. "Ardhangini" urges audiences to introspect, empathize, and strive for a more inclusive and compassionate world.

Nandita Shivprasad's "PRAKTON" is a very famous movie among Bengalis. Although the context is not the same, there are quite a lot of similarities. I can say with a guarantee that those who liked the "PRAKTON", will like this movie. In several places, the script is better than the "PRAKTON".

However, the movie lacks entertainment. But the dialogue is great. The movie teaches how to indirectly help the ex-husband even after releasing him.

Churney has acted incredibly well. Although Jaya is aloof in some places, she has known her caste at times. Ambarish as well as very helpful.

But the speed in the movie is very slow. In that direction, the movie could have been better.

It is a tale that valiantly inquires into the nuances of marriage, a narrative that intricately scrutinises the complicated unison between these two women who incidentally associate with the same man; one's from his former past, the other one, his present, cleverly juxtaposing the times they respectively shared with the man in question; one that went by and gradually forgotten and the other one that still hangs back and grasps on to the present.

Kaushik Ganguly has brought a compelling dynamic into play, something that is seldom showcased, and for that alone, his efforts must be duly appreciated. That said, I still feel he couldn't nail the ending. The third act was the weakest, as the final few moments felt rushed and inconsiderate. I wish it were done in a different way. The rest of it, however, functioned as expected; heavy on emotions and laced with appurtenance.

Husband's ex-wife and ex-husband's current wife, what can be the exact equation of these two people! Is it only outrage, the burden and resentment of unknown complaints, or is it possible to find compassion and cooperation in this relationship???

A man, with whom she had spent seventeen years under the same roof, in the same room, in the same bed, all of a sudden today just in front of her eyes that man's unconscious body laid on the ground and she has no right to run to him and touch him because he is her past. Today, that very well-known person is no one. And what if the present of her ex comes to her door for her help? Help that has no identity, no meaning, no recognition, nothing but dishonor and pain in return. Is it really that easy to become "The Great Ex wife"? Or life life will lead you to another way .... The finest piece of work has made by Kaushik Ganguly. You did it. After finishing the movie there was a standing ovation at the movie hall. It was beyond beautiful. Will be waiting for your next one.

Kudos to Kaushik Sen, Churni Ganguly, Jaya Ahsan, Lilly Chakraborty and Ambarish. You have done a great job.

Each and every actor and actress are doing superb, Just awesome. Each plot goes part by part and understanding between each and every phase are very clear. To be honest I couldn't take my eyes off the screen for once. Every song in this movie is awesome. Thank you very much to the director & writer Koushik Ganguly and all the cast for give as such beautiful movie. Churni Ganguly for beautiful acting be a ex wife. Koushik Sen for the husband. Jaya Ahsan for beautiful acting as a second wife. Lily Chakrabarty was a great choice as a responsible mother. Ambarish Bhattacharya as a good and best little brother as a support.

This film is a masterpiece, meticulously written and directed by Kaushik Ganguly. The two lead actors, Churni Ganguly and Jaya Ahsan, prove again that they are two of the best actors in India at present, and deserve awards for their performance. Ambarish Bhattacharya adds the required touch of humour. Veteran Lily Chakravarty gives a strong memorable performance.

It is a family entertainer that must be watched to appreciate the strong performance by the actors, excellent direction, dramatic dialogue, and beautiful music. The scene where Jaya Ahsan's character sings the Tagore song "Jibon jokhon chhilo fuler moto", sung by Sahana Bajpaie as the playback singer, was a beautiful moment in the film. This film shows the path to take Bengali cinema forward.