- Release Date: 25/11/2023
- Cast: Malini Tisopi, Rajiv Kro
- Director: Mridul Gupta
“Mirbeen” – A tragic and poignant tale marred by directorial and execution shortcomings
It breaks my heart to write what I am about to write about “Mirbeen”. I approached this film with high expectations, especially considering the exceptional quality of Assamese films in recent years, including those in various dialects and languages native to the state. Even contentious films like “Semkhor” managed to be exceptionally well-made, demonstrating nearly flawless cinematic presentation and qualities. From its trailers, “Mirbeen” seemed poised to be a visually stunning film that would delve into the conflicts, tragedies, and tribulations faced by the Karbi people as they navigate the challenges of insurgency. The central character, Mirbeen (portrayed by Malini Tisopi), was expected to be the conduit through which these themes would be explored and depicted.
A subject of this nature requires researched, detailed, mature, and nuanced handling, attributes that I believed the director, Mridul Gupta, was more than capable of delivering. The trailer offered glimpses of the protagonist in challenging situations, hinting that this would not be an easy watch but rather one of those films that profoundly impacts you with its storytelling. Adding to its credibility, the film has not only been selected for numerous awards but has also emerged victorious in respected international film festivals. The fact that it serves as the opening film for the 16th International Guwahati Film Festival speaks volumes about the reverence and respect it commands within the global film fraternity.
Hence, I entered the screening with confidence in the film’s cinematic qualities, expecting to simply immerse myself in the narrative, performances, and the visual splendor of the Karbi World. However, that anticipation was swiftly shattered. I found myself perplexed by a barrage of flaws, ranging from horrendous subtitling and caricatured performances to inadequate and amateurish direction, coupled with jerky editing. These issues bombarded me from every direction, making it increasingly challenging to enjoy or respect the film as I delved deeper into its meager 89-minute runtime.
The Story:
The film unfolds the journey of “Mirbeen,” a free-spirited girl navigating a tumultuous period in Karbi society, besieged by insurgency that threatens to engulf their entire world and existence. The clashes between the Karbis and other ethnic groups during this tumultuous time resulted not only in significant bloodshed and the horrific loss of innocence but also marked the end of many dreams.
The film’s protagonist, Mirbeen, becomes entangled in the conflict when the man she loves, Longki, plays a pivotal role in the killing of a revered figure from a different community, despite the latter’s apparent contributions to the Karbi people. Suspected of opposing the Karbis’ cause, this man is killed by Longki and fellow insurgents, triggering an uproar in Karbi society. In swift retaliation, other groups decimate Mirbeen’s village as an act of payback. Before she can grapple with the sudden loss of her home, she is forced to confront the tragic death of her closest friend, Kaban, who falls victim to brutal rape and a fatal gunshot.One predicament follows another, and Mirbeen finds herself amidst nothingness, armed only with a dream and the assurance of greatness—based on a folk tale from Karbi lore—from her grandmother to sustain her. Government schemes related to textiles provide Mirbeen with a new lease on life and the opportunity to embody the fairytale character her grandmother had envisioned.
Complete Lack of Impact in The Tragedy and Drama:
A film of this nature should be harrowing, especially when it involves multiple instances of brutal violence against women, including that of major characters. These sequences ought to send shivers down the spines of the audience. Unfortunately, that is not the case here. Personally, rape scenes in films make me incredibly uncomfortable and even give me nightmares. Shockingly, in this instance, even when major characters undergo this horrifying ordeal at the hands of largely undocumented perpetrators, there is a glaring absence of the intended impact or sense of tragedy. The execution appears superfluous, amateurish, and devoid of any emotional weight or understanding of the loss and tragedy depicted. Instead of evoking a profound reaction, these sequences come and go like any other in the film.
It’s also worth noting that the predictability of what is about to happen before these sequences unfolds robs them of the last shred of tragedy and drama. It feels as though the director uses these heinous acts as mere shock-value extraction tools, strategically placing them in portions where the narrative interest dips. The most significant tragedy lies in the fact that the performances of the actors and the manner in which these sequences are captured are so underwhelming that such a horrendous part of the narrative, has virtually no impact on the audience. This neutralizes and diminishes a major portion of the tragedy faced by the characters in the film, significantly reducing the overall impact of the film.
The Poor Performances in The Film Left Me Heartbroken:
My dear friend Manas Sagra, a director and filmmaker of great quality and vision, often emphasizes that the key to extracting exceptional performances from actors lies in the hands of the director. A skilled director can inspire and transform even the most amateurish actors into delivering powerhouse performances by knowing how to utilize them effectively. Failing that, there’s always the option of choosing actors better suited to the roles.
Tragically, except for a few, most of the performances in the film feel forced, amateurish, and fail to elicit the emotions from the audience necessary for a complete immersion in the narrative or suspension of disbelief. Many characters in the film may have been inspired by real-life individuals who experienced similar ordeals. In such cases, actors needed to conduct thorough research and draw inspiration from real people to build authentic characters. Unfortunately, it seems this was not the case, as most performances felt scripted and caricaturish. This not only undermined the credibility of the characters portrayed by the actors but also further diminished the impact of the overall narrative, diluting the heartbreaking reality of the unfolding tragedy.
Mridul Gupta’s Direction Leaves Much to Be Desired:
The film’s world-building, performances, cinematography, narrative progression, editing, and handling of key dramatic moments could have been significantly better. Throughout the film, everything felt scripted and contrived, seemingly designed to elicit applause rather than genuine engagement. This sentiment remains constant, worsening in scenes depicting violence.
The performances, dialogue delivery, and interactions with the camera by the actors were notably awkward. It is the director’s responsibility to identify and rectify these issues from the outset, but it appears that this crucial aspect was overlooked. Even in extremely tragic scenes that should disarm viewers, the director’s approach is casual, lacking in drama, character, and heart, causing these moments to pass without leaving a lasting impact.Every facet of the film demanded improvement, and it seems the director should have taken charge of these aspects to elevate the overall quality of the production.
Unbelievably Poor Subtitles:
The only means for those unfamiliar with the Karbi language to grasp the intricacies of the film is through the dialogues between the characters. While much is inevitably lost in translation, as a film’s true essence can never be fully captured through subtitles, it should still provide audiences with the best possible vantage point to comprehend the underlying drama and the predicaments faced by the characters. Unfortunately, this is not the case here.
The subtitles in this film are, without a doubt, the worst I have seen in a critically acclaimed film in ages. It almost seems as if the person responsible for them lacked the interest or had insufficient knowledge of the English language to construct complete and accurate sentences. The outcome is subtitles that, I am confident, miss out on every possible nuance and even crucial story points in the translation. This left me in a state of frustration, and towards the end of the film, I found myself giving up on reading the subtitles altogether due to their inaccuracy, blatant spelling and grammatical errors, and contextual incorrectness. The subtitles, a crucial aspect of the film, turned out to be the worst element by far.
Reinforcing My View of Film:
As I continued watching the film, I found myself questioning whether I was witnessing the same film that had garnered acclaim from numerous respected film festivals worldwide and earned a plethora of prestigious prizes. I wondered if I was the sole viewer noticing these apparent flaws or if others in the auditorium were in denial. My questions were answered by at least two individuals whom I believe possess a profound understanding of cinema; their lives seemingly dependent on it.
One was a talented director whom I had engaged in an intriguing conversation about world cinema earlier that day. The other was a passionate sound designer, deeply invested in global cinema and known for his starry-eyed and expressive appreciation of anything remotely good in film. The director chose to leave the auditorium halfway through the second half, and the sound designer, while acknowledging certain visual aspects and qualities of the film, repeatedly pointed out flaws with evident frustration. Despite his occasional praise, I could decipher from his expressions that he, too, shared the disappointment I felt. Regrettably, the director never returned.
Final Words:
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Editor-in-Chief, eastmojo.com
As the film approached its conclusion, approximately 20-30 people in the audience erupted in applause and showered lavish praise on a film that, to me, was undeniably and severely flawed. This applause seemed to reinforce the director’s belief that he had crafted a great film. While he had chosen an important and tragic subject, the lackluster execution did a major disservice to it. Applauding merely for selecting a relevant topic, while overlooking the film’s significant shortcomings, is a disservice to the director himself. Honest feedback about the film’s deficiencies would have been more constructive.
Some may argue that films are subjective, and what I perceived as flaws might be enjoyable to others. While I respect the subjective nature of film appreciation, I must highlight the technical aspects that suffered, and with better handling, could have enhanced the impact and likability of the film even for those who initially enjoyed it. Given that this was a heartbreaking story, any shortcomings in the execution felt like a disservice to those still grappling with the weight of the tragedy. Therefore, if my critique appears overly critical, it stems from a place of understanding the gravity of the narrative and a desire for a more impactful and respectful portrayal.
The views expressed in this article are that of the reviewer and do not reflect EastMojo’s position.
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