Can a fairy tale-like setting be the echo for a larger perspective and voice? Yes it can, as director Anvita Dutt displays with a surefooted feminist drama, that is balanced and satisfying.
Once upon a time in 1881, British-ruled Bengal, five-year old Bulbbul is married to a much older rich man Indranil (Rahul Bose).
Indranil’s ‘in the middle of the jungle for no reason’ mansion is inhabited by his mentally challenged twin brother Mahendra – his wily wife Binodini (Paoli Dam), and a younger kid brother Satya who Bulbbul befriends and initially mistakes for her newly wed husband.
Cut to twenty years later…
Satya (Avinash Tiwary) returns to the mansion even as rumours of a witch killing men has the local people panicky in fear.
Indranil has long left the mansion for Kolkata, the beautiful ever-smiling wife Bulbbul (Tripti Dimri) queens the huge residence, Mahendra is dead (suspected killed by a wild animal) – Binodini confined to a widow’s colourless life elsewhere.
Satya is troubled to see Bulbbul in a close relationship with her doctor, Sudip (Parambrata Chattopadhyay).
Meanwhile, more men are mysteriously killed, and the villagers are convinced the witch is at play.
Satya decides to investigate.
The pink-coloured rebellionÂ
Noted writer and lyricist Anvita Dutt’s debut directorial Bulbbul has the atmospherics, drama and performances dead right, but lacks the suspense and immediacy of a thriller.
But then Dutt is clearly not aiming at giving us breathless thrills or heart-stopping horror – the larger message is of gender equality, a woman’s right to a free-willed life and catharsis for centuries of oppression.
How men are partial to a woman’s feelings and want to keep her caged, is nicely, subtly done in Bulbbul. There is gravity in the social drama, the catharsis is unlikely, unreasonable and far-fetched.
But again, the revenge track is cover for a larger modern narrative in a steadily paced period drama.
That the action is largely limited to the mansion and the symbolic fog-filled pink-orange outdoors, limits the canvas. The fairy tale garb is not effectively used to ignite Bulbbul intoa mesmerizing yarn.
The preceding violence is aptly done, shocking us and bringing home the sadism and savageness of brutalizing another human being.
Bulbbul review
At 90-odd minutes, Bulbbul is sturdy and sensitive, if not always convincing. The movie shines like moonlight through a window in its performances.
Tripti Dimri is spectacular, bewitching as Bulbbul. Dimri does more than getting the emotions right, her presence conveys vulnerability and a sweet, charming assurance.
Rahul Bose makes a great comeback with a studied act as the authoritative, quietly menacing family head and the mentally challenged twin brother.
Avinash Tiwary is good, making the most of his easy chemistry with Dimri – they played legendary lovers in Laila Majnu (2018).
Parambrata Chattopadhyay does his bit part well, Paoli Dam is superb as the crafty, scheming woman.
Bulbbul has great intent and gets across in parts, despite lacking bite, is a good, if too familiar feminist social drama.
Afterword: Anvita Dutt has gone to make a greater feminist drama on toxic mother-daughter dynamics, the weight of ambition and expectation, professional jealousy and the feeling of alienation, in the period drama Qala (2022). Tripti Dimri is again impressive as the troubled daughter. Qala also features Swastika Mukherjee as a cruel, ambitious mother and Babil Khan as an aspiring, gifted singer. Other supporting actors include Varun Grover, Amit Sial and Girija Oak. Amit Trivedi’s music is the movie’s soul. Qala is a good followup to Bulbbul and a recommended 9PM Movies watch.
