The most embarrassing moment for the Rahul Bose on the screen. It is a short example of Dil Zoya Akhtar Dhadakne to do. Where the actor is known for his role of Sombre, whistling and dancing with the cruise. This happened briefly, but it was painful to watch how uncomfortable he was visible. Srijit Mukherji erased the memory at Rabindranath Ekhane Kokhono Khete Asenni by placing Boses in a worse state.
The actors are talking in Bengali:
According to his actor, he chewed stones and then gave him the scene of theft showing off. Which requires standing on the balcony up high, raging with Rabindranath Tagore’s cage torches in the background. It deviates from all the famous Mukherji with -Derivative aesthetics. And everything he will be known. The uses Tagore songs that are incompetent.
They are adapted from the author of Bangladesh Novel Mohammad Nazim Uddin with the same name. Rabindranath Ekhane Kokhono Khete Asenni (Rekka). It is a series of nine parts centred on a restaurant. While the name suggests. Bard never comes to eat, and the same owner pulls it. Very few are known about Sheep of Juberi (Azmeri Haque Badhon). Except that he lives with the help of a house and runs the restaurant. People from afar and spacious came to Sundarpur to eat.
Visitors to otherworldly charm charms:
They published in 2015 Direct Popular Rekka. It’s easy to know why. Indeed it leads to a striking title, but Uddin does more. He took resonating themes universally – curious cases of females actively. And changed the ideas that had proved in their heads by proving they were right without making it suitable.
This novel is also a strong criticism of how the community uses magic. To justify women’s success and how human crafts can intersect with these assumptions. A premise like this is a complicated mandate for women’s protagonists to form perspectives without changing reading.
That Mukjerji becomes, the headline of this adaptation is not surprising and wrong.
Wrote his interest in women’s character throughout his body. Considered more evident in films such as Nirbaak (2014) and Begum Jaan (2017). Talking about their limitations, in the series, becoming more challenging to hide. At Rekka, Sweep is a cliche and stereotype.
Character subscribes to the femme-fatale template with commitment as we see trop. To create intrigue, he smiled mysteriously did not see anywhere even in the middle of the night. Set his favourite to Tagore by singing his songs all the time. He was created with a thin imagination of such a wafer that was imitated by characters. In the ‘happy’ beats, ‘sad’ like actors were part of the school game.
The taste of this unoriginality includes the whole series:
It dilutes every round and every unnecessary sub-plot. Male characters are made as two different categories. Those who are fascinated and those who crossed. But for all the shoddiness, the show believes it is too intelligent for viewers, humbling it makes it more unbearable. Take examples of interrogation scenes between Bose and Badhon, which also displayed limp for how sterile dialogue.
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So that it is frankly, so it is impossible to skip the point. But the director believes that we have, so in the last episode. Anjan Dutt’s character tries to join the dots, signalling the impossibility of quoting Umberto eco as an example. This is not a big problem, but Mukherji has been forever the first excited bencher. Who wrote paragraphs for 2-mark answers to show how much he knew.