Some films meant for adults are labeled with an ‘A’ or adult rating, restricting children’s access. Thankfully, children’s films aren’t marked with a ‘C’ in the same way, or adults would miss out on so many wonderful movies, unable to return to the magical world of their childhood.
I recently watched Soukarya Ghosal’s Pokkhirajer Dim (The Pegasus Egg). As expected from Soukarya, whose films always carry a strong element of fantasy, this one is no exception. When creating for children, he dives even deeper into that magical fantasy realm, crafting a playground of imagination. In Pokkhirajer Dim, he not only delivers this magical enchantment but also grounds the sci-fi fantasy in a logical framework.
The protagonists, Ghoton and Poppins, are familiar from Soukarya’s earlier film Rainbow Jelly, which left audiences spellbound and set high expectations for this one. True to form, this film captivates us in the same way, transporting us back to the simplicity and wonder of childhood, reaching where we desperately wish that such a world could be real.
In a nutshell, the story unfolds in a fairy-tale-like village called Akashgunj, where Ghoton studies in a school. He faces a crisis when he’s barred from board exams for scoring zero in math. To get a retest, he must convince his strict math teacher, Batabyal Sir.
Meanwhile, Ghoton discovers the mythical Pokkhirajer Dim in an ancient village temple. He takes it to Batabyal Sir, who realises it’s no ordinary object — possibly made of alien material. However, the egg isn’t safe. A foreign antagonist, Mr. Villain, arrives, scheming with the village panchayat head to seize it. The story then revolves around the fate of the Pokkhirajer Dim. It reminds me of Shirshendu Mukherjee’s Burun tumi onke tero when the entire plot line takes a dramatic shift with Ghoton scoring zero in maths. On that note, I would also like to add that if the antagonist team could have had a better punishment, then the story would have been more exciting.
The lead actors, Mahabrata Basu (Ghoton) and Anumegha Banerjee (Poppins), deliver such natural and captivating performances that it’s hard to look away. Mahabrata is particularly mesmerising, and Anumegha is equally delightful. Anirban Bhattacharya, as Batabyal Sir, once again showcases his unique talent, portraying a character unlike anything he had done before. His ability to reinvent himself with each role keeps audiences eagerly waiting for his next performance. Playing a scientist-cum-math teacher, he brings an eccentric charm that leaves us spellbound. Amongst the supporting cast, Debesh Roy Chowdhury is worth a special mention; his portrayal of the character Samanta feels extremely real yet out of the world. Anujoy, Shubhashis Gangopadhyay, Alexx O’Nell and others also deliver stellar performances.
Soumik Haldar’s cinematography elevates the film to another level. The simplicity of the story blends seamlessly with a vibrant, bright colour palette, immersing us in a fantastical world that feels so close to reality, as if it could unfold next door. This blend of the fantastical and the real is a remarkable feat. Nabarun Bose’s background score deserves special mention for its enchanting quality, masterfully capturing every mood. Whether it’s a playful moment, tense situations, or the emotionally charged climax that brings tears to the eyes, the music complements the actors, director, and narrative beautifully.
In summary, this is the kind of film we wait years for. It lets us revisit our childhood, and we crave more such movies. They allow those of us who never fully grew up to reconnect with that magical time when children’s literature and films created a treasure trove of wonder. We miss that era dearly.
Working with children requires immense maturity and an understanding of their psyche. In Soukarya’s films, child actors perform with such natural ease, matching their adult counterparts. Soukarya’s ability to draw high-quality, authentic performances from young, often untrained actors is a testament to his directorial skill. This consistently leaves audiences in awe. Soukarya’s films, especially those involving children, maintain an exceptionally high standard. A special thanks to him for gifting us this gem. Since Ghoton and Poppins have now starred in two films, I hope for a trilogy, with Soukarya delivering an even more spectacular third instalment.