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The sad thing is that talents like Birsa Dasgupta, Rudranil Ghosh and Sohini Sarkar are part of this tasteless concoction. The problem is that all of this is so unfunny The problem is not that much of the proceedings is so loud, one-note and politically incorrect вЂ“ it is all of these and you might have still come away smiling.

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There is the downright offensive episode involving a doddering old man in the bus who has to relieve himself time and again because he is a sugar patient and who threatens to call upon the human rights commission when the driver and conductor refuse to stop. Or the effeminate young вЂmanвЂ™ who boards the bus the two friends are fleeing in.

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There are homophobic digs: Anupam and Rajat having to spend a few hours at a seedy hotel room leads to a series of odious episodes and double entendre, including a police officer who tracks them mouthing вЂHoвЂ™ and вЂMoвЂ™ all the time. Or consider this: a вЂcomradeвЂ™ of Rai named Tara, calls herself Tarapeeth, and then turns around in a вЂsexyвЂ™ gesture to reveal her backless blouse (hence the вЂpeethвЂ™ or back in Bangla). Then comes the punchline: molat diye porbeВ (ensure that the book is wrapped properly вЂ“ impossible to translate with any degree of precision), proffering Anupam a condom, brand Man Force, in one of the filmвЂ™s many blatant and shameless product placements: Gas-o-Fast, Vishal Mega Mart, Fly Up, Bengali Matrimony. Sample this: AnupamвЂ™s boss (who is on FB as вЂLonely GhoshalвЂ™) scans internet porn, looking for вЂdesperate housewives of KolkataвЂ™, then proceeds to describe life вЂas a library and women as books to be taken off the shelves and readвЂ™. The bigger problem is that so much of it is downright distasteful. The problem is that all of this is so unfunny. The problem is not that the jokes and exchanges are often ribald вЂ“ they are and you know that itвЂ™s par for the course for a film like this. The problem is not that these are stereotypes вЂ“ they are and you can live with that. The sad thing is that talents like Birsa Dasgupta, Rudranil Ghosh and Sohini Sarkar are part of this tasteless concoction

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At the other end of the scale is RajatвЂ™s wife Maya (Sohini), with her daily pujas, her propensity to tie amulets on every part of her husbandвЂ™s body, and her addiction to TV soaps (in a variation of coitus interruptus, she pushes her husband away on their wedding night because she has just remembered that the heroine in a serial is about to become a mother). She is the sort who addresses her compatriots as вЂcomradesвЂ™ (thereвЂ™s also mention of urban Naxals) and celebrates an anniversary shouting вЂinquilab zindabadвЂ™ before proceeding to cut a cake which has Che Guevara carved on it. AnupamвЂ™s wife Rai (Nusrat) is a compulsive activist, protesting and rallying for any cause coming her way вЂ“ pukur theke kukurВ (from ponds to dogs, as a dialogue goes). Two friends, Rajat (Rudranil) and Anupam (Ankush), have reached the end of the tether when it comes to their wives and jobs. In the context of Bibaho Obhijaan, the closest I can get to is вЂcomedy gone horribly wrongвЂ™. Online Bengali-English dictionaries translate it as clowning or buffoonery, which do not make the cut for what I am looking for.

It does not quite mean вЂover-the-topвЂ™, which again can be fun to watch. ItвЂ™s not quite slapstick вЂ“ which is an art form when executed well. I am not sure what its exact English equivalent is. There is a Bengali word вЂbhadaamoвЂ™, originating from bhaad, a jester. Or do you venture with a mention of whatвЂ™s essentially wrong with it? In which case where do you begin, given that almost all of it is so woefully bad? Do you still be charitable because the filmmakers have made no bones about this being an exercise in pure entertainment? Or do you go the Roger Ebert way when he reviewed North? And then serendipity strikes in the form of a tweet by an esteemed critic, about another film: вЂThose expecting an analysis of вЂњscreenplay structure, performances, editingвЂќ in reviews of films like Kabir SinghВ canвЂ™t seem to understand that the craft is entirely a part of the problematic plotline.вЂ™ Voila! You have your opening. Do you kick-off with a sequence that is its saving grace вЂ“ given, of course, it has one. Sometimes a film leaves you so numb that you are stumped for words with which to begin reviewing it.