If there were a 'The most unfortunate film of the year' award, it would have certainly gone to the latest film Damal, directed by Raihan Rafi and produced by Impress Telefilms.
The film has all the elements of a successful blockbuster but failed to gain enough audience in the theatres.
Damal tells a fictional story from our Liberation War by taking inspiration from the Shadhin Bangla football team, which toured throughout India and played 16 friendly matches to raise international awareness and economic support for the freedom fighters.
It starts with the failure of the Women's National Football Team and how the team members are bullied in both the real and virtual world. The depressed footballers try to quit, but a visitor to the camp, who was the manager of the Shadhin Bangla football team, tells them the story of the Shadhin Bangla football team and inspires them.
The story then moves back to the 1960s and shows the lives of two Bengali footballers, Durjoy and Munna, and how the Shadhin Bangla Football Team was formed and fought with their football in 1971.
For Raihan Rafi, this is his magnum opus so far. He has outdone himself with Damal. The plot is dynamic and well-written; after Shaan and Operation Sundarban, Nazim Ud Daula has showcased his prowess in Damal as well.
The esteemed writer Faridur Reza Sagor has contributed to the screenplay, and it has enriched the story. The dialogues suit the ambience perfectly, and so does the background score.
Mayeen Uddin Rehman, who has composed the music for films like Dhaka Attack, Alatchakra, No Land's Man, Unoponchash Batash, Mission Extreme and Din the Day, has continued to shine in this film as well.
One of the film's plus points is its cinematography, which perfectly presents epicness through the lens. Sumon Sarker deserves praise for his work, especially for the colour grading that depicts the atmosphere of 1971 quite effectively.
The football scenes were shot beautifully, and the actors dedicated themselves to the game, which gave it more realism. The film's title track goes quite well, as does the song Ghurghur Poka by Momta. But the romantic songs feel quite misplaced and, thus, random and sudden.
Shariful Raj, as Munna, the football team's captain, has given it all for his performance. He has completely transformed into the 1960-1970 youth in his mannerisms and attitude, which has given the character much depth.
Bidya Sinha Mim, as Hosna, his wife, has had an elegant character development, from a lively young girl to a determined, brave freedom fighter.
Siam has tried hard in his role as Durjoy, the star striker of the team; however, the antique vibe of the era is somewhat lacking in his performance, as if he is in the 2020s, not in the 1970s. In addition, his romantic interest Shahnaz Sumi has little character development or agency in the film; her presence felt like being there just for the sake of it being there.
Intekhab Dinar has lived up to his reputation; however, in his older role, he acted like a forty years old man wearing the prosthetics of an eighty years old, which felt disconnected. Sumit Sengupta as Monir, the goalkeeper, has shone brightly in his role. Rashed Mamun Apu has fallen short of presenting a menacing, power-hungry rajakar, and his portrayal turned rather cartoonish as the film progresses, which could have been done better. The same criticism goes for the Pakistani officer played by Sayed Babu, whose character has failed to present evilness, but he should be praised for his flawless Urdu.
Tiger Robi, an actor, known for portraying evil characters, has played the coach of the football team, and he has done a good job.
The major criticism of the film will be its climax, as it has been a little too convenient. Even for a melodramatic period film, suspending our disbelief at the ending is hard. And the clips of the Bangladesh Under-18 Women's Football team's success, which were obviously added a few days before the release and so, hastily pasted, felt forced and unnecessary.
Despite the shortcomings, Damal has left no stone unturned to transport the audience back to the days of 1971 and showcased the timeframe with such aptness that the film has become a perfect patriotic sports drama.
