In one of his books, 'Himur Dwitiyo Prohor,' Humayun Ahmed once made his famous character Himu deliver this philosophy: "Inside this affection, we do live. And still, we scream - free us from this affection, o dear!"
Maya. An emotion. In this context, affection may be the closest possible translation of the Bengali word. Affection that has made humans humane made this planet a place worth living. Mayar Jonjal tells the story of such a world that exists in our surroundings and our day-to-day life.
Based on two short stories by Manik Bandopadhyay, 'Bishakto Prem' and 'Subala', the story can be said to be quite simple. There are four main characters (if viewed from our subcontinent's 'hero-heroine' perspective). On one side, Chandan is there, an alcoholic night guard with a poor income, and Soma, Chandan's wife, gets herself the job of a full-time housekeeper and caretaker for a better income.
Simultaneously, there is Beauty, a prostitute, previously an ordinary housewife, who her husband sold. The last one is Satyaban, Beauty's boyfriend, who is not more than a rising goon of the locality. Besides, Sudhamoy, the old man, and Ganesh, the fish dealer, are also prominent characters.
But, when a viewer gets into the film, one thing that he/she will surely feel is that the central character in Mayar Jonjal is none of the people mentioned above. Maya, the affection, is the heart of the movie.
Indranil, the director of this film, named the film 'Mayar Jonjal' and inserted that maya in every single frame and scene of it. There is a pretty good possibility that the film, somehow, will melt the audiences' hearts.
In the first part of the cinema, Chandan seems rude towards his wife, Soma. But later, this draws a smile on the viewers' lips that, deep inside, Chandan wants to enjoy Biryani only with his wife and wants to go to the sea only with her. There lies the affection.
On the contrary, Soma, who does not think of her husband more than a subhuman specimen, becomes so happy hearing the news of him getting a job. Yes, there lies the affection.
Beauty, a prostitute, was betrayed once by a man, her own husband, but still falls in love with Satya and cooks the costliest prawn for him. The affection lies there.
Satyaban poisons Beauty to steal her money. Then again, he takes her to the hospital. That is where affection lies.
Affection is inside Ganesh, who, throughout his life, did nothing but sell fish, and still, he likes to discuss his hobbies with a prostitute, knowing this won't mean anything to her.
Sudhamoy, the old man, has affection inside him for an almost unknown lady, whom he treats with his favourite roadside breakfast dish without any reason.
The film is full of so many short scenarios made up of affection, all so familiar, making them touchy enough to melt one's heart.
However, Mayar Jonjal is an Indo-Bangladesh production starring Ritwick Chakraborty, Chandrayee Ghosh, Paran Bandopadhyay, Bratya Basu and so on from India.
And from Bangladesh, Aupee Karim, Shohel Mondol and Wahida Mollick Jolly were there.
It has to be said that all the actors were tremendous in their role, whatever it was. Every character will surely leave an impact through their portrayal of the Maya, the affection.
Besides, it needs no telling that Indranil Roychowdhuru nailed it as director. The cinematography and colour grading was also good and relatable.
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