The traditional Indian family has long been fragmented, and the only glue that holds the members of these ‘disjointed’ small units together is the affection for one other. The unconditional love that parents and children still share for each other is perhaps the only cementing force that holds families and society together, transcending all social classes. Projapati 2, a modern family drama, could resonate with many for reflecting that core emotion, without being a gooey, pulpy mash of feelings that most films end up being. Balanced, flowing with feelings and beautiful moments, the movie is held together by a talented cast headlined by Dev and Mithun Chakraborty, who play the roles of a son and father, ably supported by the rest.
Without giving away much about the story, Projapati 2 show Joy Chakraborty, a talented and aspiring chef settled in London with dreams of setting up his own restaurant in the Square Mile. Joy’s father, Gour Chakraborty (played by Mithun), runs a pice hotel in Kolkata, whose only other pride and love of life is his home, Bhalobasha, built with sweat, blood and love. Like any average, ageing middle-class man, Gour too cannot imagine living with his son in London, away from his nest and familiar surroundings, a fact that would strike a definite chord with most of the middle-class families, who have their children living in distant lands.
The beautiful bond that Joy and his father share is equally palpable between Joy and his six-year-old daughter Mimmim, whom he raises single-handedly. Mimmim’s mum (played by Idhika Paul) - Joy’s love of life - dies at childbirth. The plot advances with Joy’s bright career in upscale London restaurant Gaucho coming to a halt due to internal rivalry and politics.
There is nothing to reiterate about the presence and performance of Mithun Chakraborty, who spontaneously turns on his natural flair on the screen.
A special mention must be made of Kharaj Mukhopadhyay – Tulsi Chakraborty of our generation – who can elicit laughter even during predictable moments. Actresses Shakuntala Barua and Aparajita Addya held the scenes with their mature presence. Idhika Paul and Jyotirmoyee Kundu shone bright in the few moments they had on screen.
The true lady superstar of this film is Anumegha Kahali, who matches her tiny steps with Mithun and Dev with aplomb. The accent and the cute little oversized specs on her little face made her all the more adorable.
But the one person who steals the show and owns the film from the beginning to the end is Dev. He’s not only looking smart and dapper as he always does, but he also steals the moments with poise, grace and restraint of a mature actor. He’s what makes the movie so delectable.
If you ask what makes the film a winner beyond the acting chops, it’s the smart presentation. It perhaps sets the benchmark for the new-age Bengali smart commercial films that the urban audience can relish. Also, we loved the fact that the film lacked the melodrama and histrionics that most Bengali films end up having. The not-so-straight-jacket ending was a pleasant relief, and full marks to Avijit Senn for the controlled gloss. The background music and the ritzy foot-tapping choreography will surely have the Gen Z making reels out of them.
If Dev can continue to make and feature in such movies, he will definitely be remembered for a long time to come as a harbinger of smart commercial Bengali films that can draw audiences.
In short, watching this film is a real ‘Panta Panta Cool Cool’ way of ending the year and ushering in 2026.