Shyam Singha Roy review: Nani, Sai Pallavi steal the show in this gripping reincarnation saga

3.5/5

Story:

Vasudev a.k.a Vasu is an aspirant filmmaker who's desperate to make it big in the industry and pulling all the stops to make a short film that'll serve as a showcase of his worth to producers. His hunt for the leading lady of the short ends when he meets Keerthi, a psychology student. After initial apprehensions, Keerthi agrees to be a part of the project and gradually finds herself falling in love with Vasu. A series of mysterious events nearly derail the professional and personal life of Vasu soon. What connects him with Shyam Singha Roy, a popular 1970s writer from West Bengal?

Review:

Many filmmakers mischievously quote Alfred Hitchcock's famous “Where drama begins logic ends” to justify everything in the name of cinematic liberty. While Rahul Sankrityan, the director of Shyam Singha Roy, doesn't quote him in his latest release, he makes us believe that there's a certain truth in the words of the thespian. The emotional foundation of this reincarnation saga is built through gripping drama and a poetic romance that nearly sweep you off your feet. After all, what are films without that flight of fantasy or escapism?

Shyam Singha Roy soars because of the terrific writing and the clarity in the execution. What helps the director's case is his awareness of packaging it for a mainstream audience without diluting the plot. The character establishment is quick and crisp. Rahul as a storyteller gives enough breathing space for the audiences to digest what he's about to tell. The film's first hour is a breeze, high on entertainment and humour, depicting the plight of aspirant filmmakers and their struggle for an identity in the industry. 

The romance between Vasu and Keerthi feels slightly hurried but the plot progresses at a brisk pace leaving very little for the audiences to complain about. Reincarnation tales are not at all easy to pull off, especially for a discerning modern-day audience that's waiting to pounce on logical issues. The link that leads Vasu to his previous birth as Shyam Singha Roy is kept quite basic and simple. The focus is on ensuring a strong dramatic hook to the flashback and the film succeeds in keeping the viewer invested in the proceedings.

There are enough twists and turns in the screenplay in the entertaining first half for the audience to look forward to the inevitable flashback. Once the film goes back in time, you're transported to a setting that epic romances are made out of. A social reformer and an atheist, Shyam Singha Roy, is smitten by a Devadasi woman, Maithreyi, after watching her dance during the Navaratri festivities in West Bengal. The rebellious romance is always going to be a jerky ride, yet it's impossible to not be charmed by the intensity of the relationship and the emotional trust between them.

The references to the Devadasi roots of legends MS Subbalakshmi, Bala Saraswati are incorporated smartly. This romantic thread, despite its cheesiness, is poetic in more ways than one, in depicting the tender moments between Shyam Singha Roy and Maithreyi - the joy of falling asleep in the company of your loved one, the comforting silence of rowing a boat with them on a moonlit night and the bliss of losing oneself in a relationship beyond the worldly clutter. It's to the credit of stellar performances from Nani and Sai Pallavi that these portions work like magic. 

The film appears simplistic while offering solutions to social issues though it's the interpersonal relationships and drama that help it sail through without major damage. The growth of Shyam Singha Roy as a columnist and a writer appears too convenient. Moreover, Shyam Singha Roy is on a slippery slope when it returns to the present, where the Ram Mandir verdict is used as a reference to justify reincarnation in court. Provided you buy that, there's another twist leading to a poignant ending. 

Nani is a perfect casting choice to headline a challenging story with conviction and for the audience to resonate with the emotional beats in the film. Beyond the story, there are ample mass-pleasing sequences that'll make you wonder if he's taking the 'Natural Star' tag a little too seriously. Sai Pallavi is in fine form as a vulnerable Devadasi who finds solace in the company of a social reformer, writer. The role extracts her strengths to the hilt though it's tiring to watch another woman in a mainstream film waiting for a man to save her from tyranny.

Krithi Shetty looks confident, while Jisshu Sengupta, despite the minimal screentime, does his job of lending authenticity to the Bengal setting. Abhinav Gomatam, in an entertaining character, looks set to take the 'funny friend' mantle from Priyadarshi. Rahul Ravindran springs a surprise in a well-defined supporting part. Madonna Sebastian, Leela Samson and Murali Sharma are equally impressive in their brief appearances. 

Mickey J Meyer's music is easy on the ears but you can't escape the deja vu feeling listening to his numbers - especially Siri Vennela (that reminds you of Sandalle in Sreekaram). The production design, the styling and the cinematography add flavour and enrich the film's visual ambience. 

Verdict:

Watch Shyam Singha Roy for the conviction in its storytelling, the emotional beats and the fantastic performances of Nani and Sai Pallavi. The film is slightly simplistic in its depiction and resolution of social issues but remains gripping and entertaining for the most part. A reincarnation saga with a fine twist, packaged well for the mainstream audience!