In a highly anticipated turn of events, Afran Nisho has made his big screen debut, and Raihan Rafi‘s dream project has become a reality. This announcement generated immense excitement and frenzy among the audience.
Afran Nisho’s involvement alone was enough to captivate the viewers, and the addition of Raihan Rafi as the director added an extra level of anticipation.
The release of the teaser and trailer only served to intensify the curiosity surrounding the film, titled “Surongo.” The name itself hinted at an incident or mystery, leading to numerous theories among the audience.
Some speculated it could be a thrilling prison break story reminiscent of “The Shawshank Redemption,” while others thought it might involve a treasure hunt like “Tumbbad.”
However, the true story of “Surongo” remained shrouded in mystery until the movie was released. This was a deliberate move by the filmmakers, aiming to create an unprecedented level of curiosity in the minds of the audience.
The intention was to keep them guessing and unable to discern the beginning and end of the movie. “Hawa” employed a similar strategy successfully, but “Surongo” aimed to appeal to a broader audience rather than a specific target group like its predecessor.
The story of “Surongo”
proved to be captivating, blending elements of thriller, suspense, drama, comedy, and crisis. Yet, the screenplay was the key factor in bringing the narrative to life.
The story required a considerable amount of buildup before reaching its plot points, and “Surongo” excelled in this aspect. Almost an hour and a half of the two-and-a-half-hour movie was devoted to setting up the main plot point.
However, it might have been more effective to introduce the midpoint a bit earlier with a slightly shorter setup. The resolution of the movie felt somewhat rushed, but the climax compensated for it. This is where “Surongo” truly shines, leaving the audience satisfied and delivering precisely what was expected from Afran Nisho’s acting prowess.
Nisho has previously showcased his talent in TV dramas and telefilms, effectively connecting with the audience. Initially, Tama Mirza’s performance didn’t resonate with me, but I later realized its significance.
On the other hand, Shahiduzzaman Selim won the hearts of the audience with his charismatic dialogue delivery, eliciting applause in the theater.
The cinematography and music
“Surongo” were commendable, although I didn’t appreciate them as much as I had hoped. This might be because I had recently seen “Prohelika,” which stands as one of the finest Bangladeshi movies in terms of technical excellence. I will delve into that topic another time.
“Surongo” provided an engaging experience for me. I purposely refrained from mentioning the story, as a single line can give rise to numerous interpretations.
Nevertheless, it is evident that Bengali cinema is undergoing a transformation. Filmmakers are striving to produce quality movies, and the growing hope and belief in witnessing more exceptional work in the future are becoming stronger.
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