Love is sometimes an amazing journey that touches hearts and reflects the emotional quotients of human mind in an abstract or realistic manner. But love cannot be a pseudo-wrapper on the remiss vessels of loveless couples. And that’s exactly where director Suman Mukhopadhyay fails to portray his feelings and has made “Asamapto” really a damp squib with a thoughtless narrative.

The story of “Asamapta” is derived from the novel “Aschorjo Bhraman”, written by famous Bengali novelist Shirshendu Mukhopadhyay.

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Indrajit (Ritwick Chakraborty) is searching for his lost childhood. He visits the beautiful range of Himalayas in search of his lost innocence and stays with his old friend Moloy (Bratya Basu) and his wife Tuki (Swastika Mukherjee). With time, Indrajit discovers the disintegrated relationship between Moloy and Tuki and also Tuki’s addiction towards other males for physical and mental needs. Indrajit has a past and quite accidentally, he meets his past love Mitul (Paoli Dam), who is also on a trip with her husband Subrata (Anindya Banerjee) and her sister-in-law Sanatani ( Poulami Das). The narrative flows keep the protagonist Indrajit on one side and all other characters on opposite, to portray the love and loveless entities in different shades of human emotion.

Ritwick Chakraborty is one of the better actors on silver screen and unfortunately he has nothing to do in this movie except nodding his head a few times with the motion of the movie. He gets minimum chance to show his acting skills and is completely over-shadowed by Bratya Basu and Swastika. Bratya Basu is brilliant as Moloy, who is an alcoholic and too vocal to cover up his failed marriage, but continues to show his love for his wife Tuki. Swastika Mukherjee as Tuki has gone through different shades of emotions in the movie and does a splendid job to portray her inability to defend a broken relationship. Debutant Poulami Das has a short but important role in the movie and she portrays her character quite effortlessly. Paoli Dam as Mitul is too rigid to display her emotions and the director fails to extract the expected shades out of her character.

“Asamapta” means unfinished and director Suman Mukhopadhyay’s venture fails to find an escape route to narrate it, even as an unfinished saga. The director tries to plot his thoughts following Satyajit Ray’s classic “Kanchenjunga,” but fails to place his pawns in correct slots to echo the soul of the movie.

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Indrajit is a spineless character in the film, who ditches his fiancée at the time of marriage and again tries to find his love in her sister-in-law Sanatani. And again Tuki, in search of an emotional bonding, has a soft corner for Indrajit. Moloy is living on a bed of thorns, but his love for Tuki is as clear as a crystal as per the narrative. However, the director fails to create the cohesiveness and the expected chemistry between the characters, in order to make the audience feel the emotional shades of the narrative. 

“Asamapta” will only be remembered for its beautiful scenic and exquisite cinematography, and some powerful performances by Bratya Basu and Swastika Chatterjee.