Life in a Metro:
Aniket, working with an IT company, now on suspension, on a lovely resort takes the initiative to delete the messages in his inbox. On the process, every story connected with the messages flashes before his eyes and it gets shown to us. His fling with Lilette and his divorce; his friend’s plight and his wife’s desperate attempts to earn money; another friend and his ‘partner’s’ decision of aborting their child; Aniket’s company’s sudden decision of layoff; stakes in shares; so on and so forth are the building blocks of the film. A man, in a city, running after lucre and love returns back to a broken family. He may have money, but no solace; may have a house, but no proper place; may have a father, but not his closeness; may have a lover, but short-lived; may have an excellent job profile, but a hollow and uncertain future. The portion of the film that explores office politics and the trauma and travails of being a private-office worker bears resemblance with Satyajit Ray’s ‘Seemabaddha’. The city of Joy, Kolkata, only torments. Urban fallacies are at play at every nook and cranny of the city. Their veneer may entice, only to climb on you like a Poison Ivy and strangle like a Boa constrictor. Every lurking grain for sadness and gloom appear as a sweet seed of a glorious and top-drawer future position.
The light and it’s interplay with the respective emotional scenes are, more or less, acceptable. The music is also, mostly, along the proper lines. There are a few characters that appear without exactness and bloom. This, then, is life which is not supposed to, always, please and be perfect. Even initial right moves in life’s important moments may appear a wrong step in the end. Such is life: a butterfly of attractive colours and patterns, but it’s uncertain on which leaf or which bough or on whose hand or dress it will rest.