Worse still is the marked deviation from the original that ensured an intense and passionate completion while the forced introduction of the political perspective in the script blurs out the short but classic romantic angle too. But the third generation as pictured from the perspective of Chaitali takes the movie away from the natural drama and introduces quite a different angle – the Naxal movement of Bengal, which though complete in itself, spoils the entire mood and squeezes the charm out of the movie.
Upto this particular point, the movie had been a hilarious joyride interspersed with sentiments where social values were explored for two generations of women. The fame of decaying nobility was not only restored but was glorified as a successful business house of the province and Somalata became a proud mother to Chaitali, a flawless reflection of Rasmoni in her appearance.
Thus began the exciting adventure of the timid housewife turned resolute businesswoman who used her intelligence and perseverance to convince her dear ones and the mischievous spirit of Rasmoni for shaping a steady future for her husband and the family. Infact the rest of the narrative as compared to the final twenty minutes seems but two stories loosely bound by a central element – the precious jewellery box. The deviations from Shirshendu’s original, though pleasantly enjoyable otherwise, but for the final twenty minutes or so it had not only shot off at a tangent but causes a loss of cohesion with the underlying theme that had been woven carefully till that moment. It is not abrupt or immature – since the story is agreeably guided to a well conceived finale but it is certainly not fitting to the plot. An excellent choice of cast with Mousumi-Saswata-Kankana-Manasi-Paran-Aparajita-Piyush-Kaushik-Shrabanti and the rest putting up a superbly orchestrated presentation, a careful selection of locations with exquisite cinematography (Soumik Halder), detailed art direction (Tanmoy Chakrabarty), an aptly matched make-up and costume design (Sarbani Das), smooth and elegant editing (Rabiranjan Maitra), a background score (music direction by Debojyoti Misra) just perfect to tone the mood throughout, yet the movie falls short of its expectations due to a surprisingly awkward ending.