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There is a villain too, within the same complex, Mohit Sur, a Hindu fundamentalist complete in a deep orange kurta and a red elongated tika on his forehead who will not tolerate any playing around with Hindutva.
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This adds more zip to the narrative what with everything wrapped neatly within the absurd world of film-making where everything is being created – sets, characters, costumes, actors, cinematographers, editors, spot boys and the rest but no shooting at all! Everyone except Uma is aware of what is truly behind this fake “Durga Pooja” but the “fake ness” soon catches flesh and blood and everyone in the complex where the “film” is being made but not shot, is involved in this “festival” of festivals. The Diaspora Bengali in Uma gives credibility to her often slipping into English though her father’s narration in detail all about Durga, the Goddess, keeps her hunger to see Durga Pooja live in Kolkata and not the painted Durga motifs in Switzerland alive. One is the director’s journey into a story he has relocated entirely in India. This is the time to slip from reality to step into the dream world of a fairy tale spun together by real people in real Kolkata and wait – in the month of March! A fairy-tale ‘mother’ is brought in because Uma had once expressed the possibility of “bumping into mom” in Kolkata! But hey! Durga Pooja is celebrated in October and the oncologist has told Himadri, Uma’s father, that Uma might not make it till then. Uma reaches far beyond familial ties to embrace this little Uma’s dream of seeing the Durga Pooja in its homestead – Kolkata.
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Jisshu Sengupta who plays Himadri is the father of Sara Sengupta who plays Uma. Is it a father-daughter story? It is more than that because the screen father-daughter is a father-daughter pair in real life too. He turns Evan, a boy, to Uma, a girl and places the father and daughter in special bonding what with the mother having left with another man when the little girl was two. Srijit picks this story from real life set in Canada, shifts it first to Swtizelrand and then to Kolkata. He did not live to see a real Christmas ever again. What is surprising that these people did not even know him.
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An appeal by the mother on a social media site mentioning the first thing in Evan’s bucket list created a modern day miracle – the entire town set up a series of actions to set up Santa Clause and a “real” Christmas for Evan without his being aware that this was not the real Christmas. George, Ontario, Canada was diagnosed with terminal cancer in 2015 and doctors said that he would not survive to celebrate Christmas. Uma is inspired by the true story of Evan Leversage, known as “the boy who moved Christmas.” He has done it finally with Uma where he takes a true story as his base with a strong universally emotional content, twists and turns it around to give it a pan-Asian and then Indian and a distinct Bengali identity. He also won the National Award for Chotushkon a few years ago. Srijit Mukherjee has been desperately trying to move out of his trap of films ‘inspired’ or ‘adapted’ from or around old films and noted stories narrated differently offering his individual creative perspective as a filmmaker who never gives up, either on his style and approach to filmmaking or in trying to win over the mass audience with aesthetically designed and cleverly disguised ingredients of carefully selected mainstream spices. Kaushik Ganguly’s Bisorjon, Arindam Sil’s Durga Sahay, are examples of films that have jumped onto this Durga Pooja bandwagon that have sometimes clicked and sometimes not.
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Parineeta also had a wonderful dhunuchi dance cutting into the Durga Pooja that adds to the dynamic entertainment value of an otherwise melodramatic story. Sujoy Ghosh’s blockbuster Kahani is a classic example of how the grandeur of the festival can be used to build the film up to an electric climax. Durga Pooja is often used by Bengali cinema and sometimes, by Bollywood filmmakers also as a backdrop or as the core of the narrative.