At the beginning of ‘Shontaan‘, this text appears on screen: “Based on real incidents.” And rightly so. In today’s world, stories of children neglecting their older parents are commonplace in every neighbourhood. Making a film on this subject, especially in Bengal, is equally common. Here, movies like ‘Posto‘ and ‘Shonar Pahar‘ have already depicted familial tussles between children and their parents. So, the first question that comes to mind before watching ‘Shontaan’ is: “What new will it bring to the screen?” The answer: nothing at all. It reproduces the same generic tropes with exaggerated characters and moral lecturing.
The story revolves around an older couple, Saradindu Bose and Meghmala Bose, who are abandoned by their son, Indranil. A self-centered and selfish man, Indranil spends his time partying with his friends or going to family trips to Bangkok without giving any thought about his older mother’s medical treatment. He constantly neglects his older parents’ responsibilities and even insults them on their face. When Saradindu becomes fed up with the daily nagging and insults from his son, he files a case against him.
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Director Raj Chakraborty, well known for commercially successful movies like ‘Challenge‘, ‘Chirodini Tumi Je Amar‘, and ‘Dui Prithibi‘, has recently ventured into social dramas like ‘Dharmajuddha‘ and ‘Parineeta‘. ‘Shontaan’ is a new addition to this category. While these movies can be praised for their social relevance, they consistently suffer from weak scripts. Written by Sreejib, Anuja Chattopadhyay, and Soumyabrata Rakshit, the screenplay of ‘Shontaan’ feels overly simplistic and so focused on delivering its social message that it reduces the characters to stereotypes. Crucial plot points become mere footnotes. For instance, in one scene, Indranil and his wife Riya leave their parents’ home, but the real reason for their departure remains unclear. Meanwhile, random scenes that do not serve the story are added solely to heighten audience sentiment and draw applause. Even, the catharsis at the end feels rushed and lacks sufficient conflict to be believable.
Despite these flaws, some directorial choices and the actors’ performances make the film watchable. Mithun Chakraborty and Anashua Majumdar carry the film on their shoulders, shining even in the dullest scenes. On the other hand, actors like Ritwick Chakraborty, Subhasree Ganguly, and Kharaj Mukherjee portray stereotypical characters which have neither depth nor personality. Even though they are talented performers, the script undermines them, resulting in loud, over-the-top, and one-dimensional portrayals. It feels as though the makers lifted these characters directly from a Bengali soap opera and placed them on the big screen.
Raj Chakraborty tries to mask these major flaws in performance and screenplay by sentimentalizing the narrative. He designs emotional scenes that aim to extract tears at any cost—and they mostly succeed. As an emotional person, I found my eyes welling up along with those of others in the audience.
‘Shontaan’ is a relevant film in today’s society. It stays true to its themes of inclusivity and family values and never strays from them. Perhaps that is its biggest achievement. This relatability resonates with family audiences, who appreciated the film despite its shortcomings. However, from a critical perspective, it is little more than a soap opera.
The Bengali film industry is already in a fragile state, and ‘Shontaan’s’ strong box-office performance during this festive season is a positive sign. Yet, while commercially promising, the movie ultimately remains a mediocre work of art.
