Padma (played by Jaya Ahsan) resides in a village in Bangladesh near the river Ichamati. A Hindu widow, she lives with her paralyzed father-in-law. One day she discovers a body on the bank of the river, the body of Naseer Ali (played by Abir Chatterjee) who is an Indian by birth and a Muslim in origin.
Padma brings him home, takes care of him and determines to send him home by passing the border security force. Then there is the third character, Ganesh Mandal (played by the director himself) who acts like a messiah, his character stands in the twilight zone and we cannot decipher his real nature, whether to call him a hero or a villain, who has only one intension of marring Padma, by hook or by crook.
Kaushik Ganguly is a decent director in the Bengali film industry but he is a stupendous under used actor too. It is a delight to watch Jaya as Padma with her distinct Bangladeshi dialect and Kaushik Ganguly as Ganesh Mandal who is at times hilarious, at times misogynist as well as a poor, treacherous soul. Except the brilliant performance of both the aforesaid actors, there is nothing much in the storyline. The plot is age old, treatment cliche, cinematography mediocre.
Abir Chatterjee needs to work seriously on his acting skills. There is no drama in his face, neither the passion nor intensity desirable to reach to any kind of poetic consequences between the two main characters. In a small role, as the little sister of Ganesh Mondol,Kamalika Mukherjee steals the show. Her gesticulation is worth a million. Lama again proved his caliber as the loyal associate of Ganesh Mondol.
Music by late Kalikaprasad Bhattacharya and his famous band Dohar is worth humming. Nevertheless, because of the extremely ordinary script, Bisarjon fails to make history.