Some stories demand to be told, not merely to recount events but to resurrect lives that history has silenced. Binodini: Ekti Natir Upakhyan, directed by Ram Kamal Mukherjee, and produced by Dev and Prateek Chakraborty under the banners of Dev Entertainment Ventures and Pramod Films, achieves precisely this, nurturing a hauntingly evocative spiral around the life of Nati Binodini, a pioneering figure of Bengali theatre.
This film is not just a tribute to a woman who dared to carve her place in a world governed by prejudices—it is an ode to art, resilience, and the eternal human spirit.
Fair to call it a ‘lyrical meditation.’
The narrative traces the remarkable yet tragically short career of Binodini Dasi, whose life was a mosaic of triumph and tribulation. Between the tender ages of twelve and twenty-three, she dazzled the Bengali stage, redefining theatrical conventions and blending European and Indian sensibilities in her craft. Yet, beneath the glitter of the footlights lay the shadows of societal condemnation, personal struggles, and an unquenchable thirst for recognition—not merely as an artist but as a woman with a voice. Mukherjee captures this duality with breathtaking finesse, infusing the film with an aching humanity that resonates deeply.
Rukmini Maitra’s extraordinary performance keeps you immersed. Her portrayal is an intricate dance of vulnerability and strength, where every glance, gesture, and pause speaks volumes.
As the young girl with dreams too large for the confines of her world, Maitra exudes an innocent exuberance. As the mature woman grappling with solitude and disillusionment, she radiates a quiet intensity that lingers long after the credits roll. Her ability to convey the unspoken—to let silence echo louder than words—is nothing short of spellbinding.
The supporting cast adds further richness to the narrative. Rahul Bose’s portrayal of Ranga Babu is layered with charm and pragmatism, while Kaushik Ganguly’s Girish Ghosh is a commanding presence, both mentor and friend to Binodini. Chandan Roy Sanyal’s depiction of Shri Ramakrishna Paramhans lends the film a spiritual dimension, his serenity adds a poignant counterpoint to the tumult of Binodini’s life.
Soumik Halder’s cinematography transcends the ordinary, transforming each frame into a painting. The interplay of light and shadow, the meticulous recreation of 19th-century Bengal, and the seamless transitions between scenes immerse the viewer in a bygone era. Every element, from the opulent costumes to the period-appropriate diction, is a testament to the film’s commitment to authenticity. Yet, this visual splendour is never gratuitous; it serves as a vessel for the story, enhancing rather than overshadowing it.
One of the film’s most striking motifs is the “inner child,” represented by little Puti. Puti’s presence lingers to the end. This symbolic device threads Binodini’s innocence and aspirations through the narrative, a stroke of the dreams she nurtured and the sacrifices she endured.
In the climactic scene, where the aged Binodini confronts her younger self, the film achieves a rare moment of transcendence. It is a dialogue between past and present, hope and regret, self and soul—a meditation on the distance between who we were and who we become.
If there is one overarching theme that defines Binodini: Ekti Natir Upakhyan, it is solitude.
There is a quiet stoicism that underpins the entire narrative, a reflection of Binodini’s resilience in the face of relentless adversity. Her solitude, far from being a void, becomes a crucible that shapes her into a symbol of strength. Mukherjee’s direction captures this with a reverence that is almost spiritual, presenting Binodini not merely as a historical figure but as an enduring inspiration. Maitra’s portrayal amplifies this, her silences and stillness as eloquent as her words, drawing the viewer into the very core of Binodini’s being.
The film’s exploration of spiritual undertone is subtle yet profound.
Binodini’s interactions with Shri Ramakrishna Paramhans are transformative moments that elevate the narrative. These scenes, steeped in quiet contemplation, invite the audience to reflect on the nature of faith, art, and self-discovery. Mukherjee handles these elements with a delicate hand, ensuring that the spiritual undertones complement rather than overshadow the human drama.
If there is a flaw in this otherwise remarkable film, it lies in moments where the pacing falters, and certain subplots feel underexplored. Yet, these are minor blemishes on an otherwise luminous canvas.
The film’s ability to evoke empathy, inspire introspection, and immerse the viewer in its world far outweighs these shortcomings.
Binodini: Ekti Natir Upakhyan takes a forgotten woman of history and breathes life into her story, ensuring that her legacy endures. It is a film that humbles you with its beauty, calms you with its depth, and teaches you, patience, through its introspection.
This is cinema at its most profound—a celebration of art, life, and the indomitable human spirit.
IWMBuzz rates it 4.5 stars.
