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Many More Woods...
There is much more to Indian cinema than "Bollywood". So here's to discovering those gems so that we can enjoy cinema beyond languages. Cheers to the "woods"...
Monday, April 23, 2018
Wednesday, May 10, 2017
Byomkesh Pawrbo (Byomkesh Episode)
This is second in my series of Byomkesh Bakshi’s stories
turned into movies. First one was Sujoy Ghosh starrer Satyanweshi.
Byomkesh Pawrbo is based on the story Amriter Mrityu by Sharadindu
Bandyopadhyay.
This came as an episode “Amrit Ki Maut” in the Rajit Kapoor
starrer TV series. You can find it on youtube https://youtu.be/UR7Vcm1G9P4.
Directed by Arindam Sil, Byomkesh Pawrbo stars Abir Chatterjee
in the role of Byomkesh and Ritwick Chakraborty as Ajit Bandopadhyay.
Unfortunately, Indian cinema has not been successful in
promoting its regional movies to the entire country. It’s quite woeful that aimless
Hindi movies find mass market but good content from regional players never
reaches an audience. With advent of Amazon Prime and Netflix, this is changing.
According to this
Forbes article, Bengali movies have
found an international audience – “Writer-director
Arindam Sil’s Byomkesh Pawrbo, the latest in a series of films featuring
cerebral Bengali sleuth Byomkesh Bakshi, has been acquired by Amazon for
international markets, not just its soon-to-launch Indian service, in a
multi-title deal with the producer Venkatesh Films.”
Hotstar while not advertised like the two above also has
impressive regional content with subtitled movies.
Coming back to Byomkesh Pawrbo…
The movie starts with Byomkesh rescuing a minor girl from
trafficking in Kolkatta while his wife Satyabati (Sohini Sarkar) believes he is
giving a speech as a function organized by the writer’s guild. Soon Byomkesh is
invited by the government to look into some smuggling of illegal arms, left by
the British after WWII at Dooars. Byomkesh sets out to Dooars accompanied by
Ajith and Satyabati.
The suspicion is on four prominent businessmen with the money and power to carry out these dealings namely Nafar Kundu, Badrinath Das, Biswanath Mallik and Jamuna Das Gangaram. Sukhomoy Samanta (Sumanta Mukherjee), the local head of police is to help them in their quest.
Once they reach the destination, Byomkesh and Ajith find the police head very unwelcoming and he also broadcasts the news of their arrival to all and sundry. This irritates the duo. Soon Byomkesh meets all the businessman and is unable to put his finger on the real culprit. All of them have something to hide. Amidst all this, a simpleton from the village Amrit is shot dead in the jungle. Amrit’s friends feel guilty as they sent him into the jungle and approach Byomkesh to take on the case. Before dying Amrit had claimed that he had seen a ghost in the form of a black rider atop a black horse in the jungle. Amrit dies near the house of a local quack Sadanand Sur and Byomkesh finds horse’s hoof prints near the back wall of his house. While he is investigating the area Sadanand who was away on business to Kolkatta turns up. As he is about to open the main gate of his house, there is a blast and he is killed.
Suspecting a relation between the two murders and the
smuggling of black arms, Byomkesh enquires about who owns a horse and learns
that all the four businessmen including the police chief owned a horse. This further
complicates the matter.
The rest of the story is how Byomkesh entraps the actual
smuggler and forces the truth out of him.
Arindam Sil has given a more macho look to his Byomkesh as compared to the original character. Sujoy Ghosh was much more intellectual in his approach, more reminiscent of the arm chair detective. Abir Chatterjee is more muscle and disguises and charm. I guess this makes him more relatable to the masses, my preference of course is the more laid back version 😉
Over all the movie managed to keep the suspense till the
end, you can’t say for sure who is the culprit. The stories of Sharadindu
Bandyopadhyay are more suited for a TV series. And that’s why you will find the
TV series faster paced. However, the director has adapted this when well by
introducing the various subplots and alternate lines of investigations. Some
songs have been added to give mass appeal but they don’t really seem out of
place.
I quite liked Ritwick Chakraborty as Ajit Bandopadhyay
unlike Anindya Chatterjee as Ajit in Satyanweshi.
Also, this version of Ajith was truer to the character and brings clarity for
Byomkesh from his reading and writings. Abir Chatterjee as Byomkesh while not
the best rendition for me, but still fits the bill. Some more chutzpa would
have brought some colour to the more hands-on interpretation of Byomkesh.
Sohini Sarkar as Satyabati doesn’t add any significance to the movie, but is unobtrusive
and helps in adding precious minutes to the length.
It’s an interesting suspense drama which will keep you
glued.
Do Watch.
Tuesday, May 9, 2017
Ennum Eppozhum (Forever and Always)
Manju Warrier and Mohanlal are two of my favourite actors. Few
can replicate their talent as well as versatility.
Ennum Eppozhum is a simple story of a journalist Vineeth N
Pillai (Mohanlal). He is a senior journalist with a women’s magazine. While he
appears to be lazy, unkempt and late for everything, he is respected journalist
with many path breaking stories to his credit. There are references to his
mother who is portrayed as a larger than life, principled and well respected
lady. Now no more, she was apparently also a friend\colleague of the owner of
the magazine. The publication is now being headed by Kalyani (Reenu Mathews),
the daughter of the owner. She is London educated and has a lot of new ideas
for the success of the magazine. She and Vineeth don’t get along.
One day there is a news about Advocate Deepa (Manju Warrier),
who protested the bad state of roads after falling into a pothole which
prompted the high court to question the government. She is applauded by all and
Kalyani wants to do a cover story about Advocate Deepa. Against her wishes, her
mother tasks Vineeth with this assignment.
Deepa is a conscientious lady who lives with her daughter,
is a lawyer and dancer and stands up for what she believes is right. Her
neighbour is retired postmaster Kariachan (Innocent) and his wife, who dote on
her daughter and always look out for her. She is close to her friend Farah
(Lena Abhilash) who visits her from Palakkad occasionally.
Vineeth tries to interview Deepa but she refuses repeatedly.
This leads to a scuffle between Kalyani and Vineeth and he ends up resigning. Later
he joins back after Kalyani’s mother intervenes. Meanwhile, Deepa and her
daughter meet an accident while she is riding her scooter. Vineeth is near them
at the moment and rushes them to the hospital. There Deepa receives a court
notice from her ex-husband for being an irresponsible mother and the lawyer
takes away her daughter.
Vineeth vows to help her. He by chance bumps into the taxi
who had hit Deepa, and learns that this was all done at the behest of the
ex-husband. Deepa takes it to court and regains the custody of her daughter.
Unfortunately, the movie hardly has any story. There is
nothing wrong in telling the story of two ordinary people, but then for it to
be worthwhile, they must be put in some extraordinary situation. Even
though these roles are a forte of Manju Warrier, unfortunately here she fails
to leave a mark mostly because there is no story. There are some comic moments
but they are also half-hearted and fail to create an impact.
The director, Sathyan Anthikkad failed to utilize a stellar
star cast and misses the mark completely. Music is good and there were a couple
of songs I quite liked.
Not much to watch though except maybe for a feel-good time pass.
Can skip.
Sunday, May 7, 2017
Dookudu (Daring)
I remember planning to
watch this movie on big screen, somehow never got around to doing it. Finally saw
it on Hotstar recently where its
available with subtitles.
The movie starts with Shankar Narayana (Prakash Raj) who is
a popular leader and an independent
MLA from Shankar Nagar (in Hyderabad) during the time of NTR. Shankar Narayan is an honest man who loves his people and has dedicated his life to them. He is a widower, lives with his son Ajay and his brother’s family. Shankar has three close followers namely Sivayya, Meka Narsingh Rao and Ambarpet Ganeshan and his close rival is the highly corrupt Mallesh Goud who vows to destroy him. One day while going for a function, he meets with an accident and is presumed dead along with his brother.
MLA from Shankar Nagar (in Hyderabad) during the time of NTR. Shankar Narayan is an honest man who loves his people and has dedicated his life to them. He is a widower, lives with his son Ajay and his brother’s family. Shankar has three close followers namely Sivayya, Meka Narsingh Rao and Ambarpet Ganeshan and his close rival is the highly corrupt Mallesh Goud who vows to destroy him. One day while going for a function, he meets with an accident and is presumed dead along with his brother.
The timeline moves to the current time where we see the
Police commissioner in Mumbai being questioned by media about the illegal
activities of a local don Nayak (Sonu Sood). Here we see the entry of larger
than life hero Ajay Kumar (Mahesh Babu), mercilessly beating up some goons. He
is part of a task force charged with arresting Nayak, headed by Nassar
(Murthy). Ajay’s identity has been hidden from the media for the success of the
operation. To get to Nayak, Ajay captures Guru Talwar who is a close aide of
Nayak. Since no one knows where Nayak is, Ajay learns that the way to get to Nayak
is through his brother Bunty who is sometimes seen visiting his girlfriend in Istanbul,
Turkey.
Ajay and his team go to Turkey. There he bumps into
Prashanthi (Samantha Ruth Prabhu) and falls in love with her. Prashanthi, her
mother and younger sister are in Turkey for a fashion designing competition
which Prashanthi won.
Ajay successfully captures Bunty, and when Bunty calls
Nayak, Ajay shoots him. Nayak believes Bunty to be dead. The team returns to
India.
Meanwhile, we see that Shankar Narayan didn’t actually die
in the accident, but has been in a coma ever since. He has a miraculous
recovery and the doctor tells the family that he should be kept away from any
shock and should stay happy to aid quick recovery. Shankar Narayan’s one desire
was that his son should also stand with his people and be a leader like him.
To take care of his father, Ajay puts on a huge act. He rents
his old house in Hyderabad and pretends to be the leader his father wanted him
to be. Even the newspapers and TV shows are modified to reflect that his dad's beloved leader NTR is still alive and is the prime minister of the country. The
entire act is quite hilarious. Ajay enlists an aspiring actor Padmasri (Brahmanandam)
to help him with his drama. Padmasri believes that he is in a reality show
being sponsored by Nagarjuna TV channel.
Meanwhile Bunty confesses about Nayak’s close associates to
Ajay namely Mallesh Goud, Meka Narsingh Rao and Ambarpet Ganeshan (his father’s
erstwhile followers). Ajay is quite unaware of his connection with these men. Nayak
returns to Mumbai and kidnaps the police commissioner and sends a warning video
to Ajay. Ajay brings Bunty to exchange for the PC. In the fight that ensues,
Nayak escapes and Bunty is picked up by Shankar Narayan’s old aide Sivayya.
Ajay recognizes Sivayya and runs after him while Bunty dies when he is hit by a
train. Ajay captures Sivayya and learns that Sivayya was trying to kill Bunty
to get to Nayak. He also learns, that is father was not injured in the car
accident but was murdered in a conspiracy by Mallesh Goud and Nayak. Sivayya
also learns that Shankar Narayan is alive and goes to meet him.
With this new-found knowledge, Ajay plans his revenge (what
a coincidence that his personal and professional enemies are the same 😊).
Ajay plans an intricate plot where he pretends to be a film director with some
granite land to sell in Bellary. He tricks Meka’s PA and an aspiring actor Bokka
Venkata Rao (M. S. Narayana) to get close to the trio of Mallesh Goud, Ganeshan
and Meka. He kills the first two in encounter and Meka is later killed by Nayak
himself.
Nayak is captured by Ajay and killed unknowingly by Shankar
Narayan.
Ajay and Prashanthi also get married in between this revenge
drama. Shankar Narayan learns the truth behind the deception and is happy that
his son did all this to take care of him.
And they all live happily ever after.
As you can see, the story line of Dookudu is quite complex
with many twists and turns. This I would
say, is a huge differentiator for the movie. From a regular action revenge drama, the various subplots keep the movie
lighthearted without compromising the main theme. The flipside is that the
movie is way too long (almost quarter to three hours) and at times you just
want the villain to come on to the screen quickly. A little crisper editing and
fewer songs (songs are below average anyways) would have brought it under two
and a half hours and it would have made all the difference.
Having said that, Dookudu is out and out full family entertainer
and mostly credited to Mahesh Babu. He has a brilliant screen presence which is
almost unassuming. This helps to keep it real in spite of larger than life
action sequences. Supported well by Prakash Raj, Brahmanandam, M. S. Narayana
and Sonu Sood. Samantha Ruth Prabhu as Prashanthi is ordinary bordering on
irritating. You just want her scenes to be over quickly. Like I said music is
nothing to write about and the movie could have done with fewer songs. Writer
Director Srinu Vaitla definitely has the winning formula (much better than our
own Rohit Shetty I must say).
All in all, if you need a lighthearted entertainer to watch
with the entire family, this is the movie for you.
Do watch.
Friday, May 5, 2017
Swayamvaram (One’s Own Choice)
Since the time, I started watching Malyalam movies and did
some research on great directors of our times, I have been trying to get my
hands on Adoor Gopalakrishnan’s movies. And it’s as hard as it can get. While University
of Wisconsin-Milwaukee in the United States has started a Adoor
Gopalakrishnan Film Archive and Research Center, to get subtitled restored
DVDs of his work in India is no mean feat.
I was ecstatic when I discovered the subtitled version of his
first directorial debut Swayamvaram
on YouTube. It’s a dream come true.
I sometimes rue the fact that it is so easy for us to get Kurosava
or Fellini or Bergman in India but if we have to find restored and subtitled
works of Adoor Gopalakrishnan or Ghatak or Padmarajan or K Balachander, its next
to impossible.
Modern interpretation of Sita’s life and choice from
Ramayana,
The couple start their life in an upscale hotel. There is
another almost eight-minute sequence with no dialogue, only the sounds of the sea
as Vishwam and Sita lose themselves on the beach or the sounds of the train
from a nearby track.
For a moment, it reminded me of Kurosava. Surprisingly, I couldn’t
find any detailed critique of the movie on the internet. There are moments in
this sequence which for me set the tone of the movie and which stay with you
throughout the movie. It’s not just a couple strolling on a beach. This movie
is as much about the craft making films as it is about the story, probably even
more. For me, the ominous burden of the choice these two make in their lives
start from here, especially for Sita.
Very soon the realities of life hit Vishwam and Sita and they
move to an ordinary hotel. Vishwam is a struggling writer and has written a
novel “Ecstasy”. He tries to get it serialized in a local daily, but is
rejected. The dilapidated and shady condition of the hotel, makes the two move
to a small house, almost a hut with an old widow and a prostitute as
neighbours.
Vishwam after a few days of joblessness gets a job in a
private tutorial college as a Zoology lecturer.
Life seems to get better but
not for long. The owner of the tutorial is a fraud and very soon Vishwam finds
himself again without work. You see Sita all this while settled, happy with her
life, in love with her man supporting him through it all. She tries to find a
job as a sales girl but is unable to as she cannot afford the Rs.1000 deposit
they demand. Vishwam then gets a job as clerk in the nearby factory. His
struggle for a job in shown with the lovely backdrop of the class struggle and
communist undertones which probably made the political scene of Kerala at that
time.
For those who read the reviews I write, compare this with the
trivialised Bangladesh liberation struggle which partly forms the backdrop of
Aparna Sen’s Goynar
Baksho. There its almost forced to be part of the story, it has no place in
while in Swayamvaram it forms an unobtrusive backdrop, merely a reflection of the
times the story is set in.
Sita is soon pregnant and life seems to go on predictably
for a while. Sita has a dream while sleeping one of the nights. (the subtitles
were basic, so not sure if my interpretation is correct) Someone is trying to pull her down a pond when she bends down to pick
some flowers. She thinks it’s her father. She tries to look for Vishwam but is
unable to find her anywhere. For me this again grounds the viewer to the fact
that all is not well and somewhere Sita already feels the burden of her choice.
Sita and Vishwam have a baby girl. Sita as a pregnant lady
is one of the most realistic rendition I have seen on screen. In fact, it was
applauded by many master filmmakers. The way she sits and pick up the pot after
filling it with water, her gait when she walks, it’s as if she is living the character
not just playing it on screen.
Unfortunately, Vishwam falls critically ill. By the time, Sita
could call a doctor he dies. Everyone around her tells her to go to her
parents, an old colleague of Vishwam invites her to come and live with his
family. Sita steadfastly refuses. In the closing sequence, we see Sita looking
at the picture of proverbial Sita from Ramayana and a closed door, resolute in
the choices she made.
This movie also reminds me of Deepti Naval’s Ankahee (a must
watch) where the last dialogue in the movie summarizes it all – Zindagi har kadam par aadmi ka apna chunaav hai…
There is a thing about great film makers, they make you live
the movie not just watch in onscreen. Every frame tells the story. Swayamvaram
hardly has any dialogues, it’s the sounds that carry the movie forward. This technique
was used for the first time in Malayalam cinema where ambient sounds formed the
leitmotif for the life of Vishwam and Sita.
Madhu (Vishwam) and Sharada (Sita) have done a stupendous
job in bringing Adoor Gopalakrishnan’s characters to life. For me, Sharad as
Sita especially stands out. You can see she literally lived the character. She
hardly has any dialogues, but then she doesn’t need any. Her expressions and
eyed and body language convey it all. Sharada is a delight to watch as Sita.
I know this movie is not everyone’s cup of tea. But for those
who love the craft of filmmaking should watch this for the sheer perfection the
movie is.
Must watch.
Thursday, May 4, 2017
Goynar Baksho (The Jewellery Box)
While I am still deciding if I want to write the review of
Bahubali, I ended up watching this Bengali movie on Amazon Prime.
Directed by Aparna Sen Goynar baksho includes a stellar star-cast
of Moushami Chatterjee, Konkona Sen Sharma, Srabanti Chatterjee, Saswat
Chatterjee amongst others.
The movie is the story of Somlata (Konkona), her husband’s
aunt Rashmoni (Moushami) and her daughter Chatali (Srabanti).
The story starts pre-independence where at eleven, Rashmoni
is wed to a middle-aged man who soon dies leaving her a widow at age twelve. As
were the customs, she must wear a white sari, cut her hair and eat bland
vegetarian food. Being a child still all Rashmoni has is her jewellery box with
5000 grams of gold. She lives with her brothers and their family who have now
moved to West Bengal from Faridpur, now in Pakistan.
The men in the house are good for nothing with no work. On
top of it the two brothers have an ongoing court case to decide which family
will inherit the house. Debts start mounting given the fact that men have
mistresses and gamble.
Somlata who is a newlywed in the house, accidently discovers
that Rashmoni has died while sleeping. In a hilarious turn of event, she sees
Pishima’s ghost who instructs her to steal the jewellery box and hide it so
that no one can find it. Pishima who is foul mouth, vile and bitchy ghost
scares the simple Somlata to no ends.
Soon the family is on brink of poverty and none of the men
in the house do any work. Heeding her mother-in-law’s advice, Somlata
encourages her husband to start a saree shop. She pawns some jewellery from
Pishima’s box for the business capital. Pishima’s ghost creates havoc for that
and keeps on haunting and scaring Somlata. She only steps down when she realizes
that Somlata has named the store “Rashmoni Saree house” after her. She guides
and advises Somlata on various business affairs to help her run the store. In a
humorous almost lyrical sequence, Somlata’s in-laws are haranguing her to find
out how she got the capital to start her business, when “the ghost” Pishima
whispers their weaknesses in their ears and they back off. I wish Aparna Sen
had continued in the same way for the rest of the movie – it would have been a
master piece. In another sequence, a man besotted by Somlata follows her every
day and Rashmoni eggs her on to take on a lover. Finally, the store does well
and all is settled. We see the jewellery box passed on to Somlata’s daughter
Chaitali (played by the same actor who plays the young Rashmoni). She is in
love with the son of an erstwhile house-help whose grandfather was once in love
with Rashmoni. She ultimately gives off the jewels to the cause of Bangladesh
liberation.
The movie starts off on a humorous light-hearted note. Moushami
Chatterjee as the cursing, foul mouthed tricking ghost of Pishima is par
excellence. Treated unfairly because she was widowed at such a young age, she
spares no one. In her old age, everyone suffers her only because they eye her
jewellery box. Once dead, the ghost realizes that there is no sin or virtue and
come back to help and haunt Somlata. This take on unfairness in the way the
world treats men and women differently is light hearted yet hard hitting.
Unfortunately, after the first half Aparna Sen loses her
way. The story becomes disjointed with too many lose ends. The story of Rafiq,
the man besotted with Somlata is left with no conclusion. The liberation war is
unnecessary backdrop and Chaitali’s role in it is hardly convincing with no
screen time.
Konkona Sen has played Somlata with a lot of restraint and
panache at the same time. Srabanti is much more convincing as young Rashmoni
then as Chaitali. Saswat Chatterjee, the cheating no-good husband of Somlata
fails to leave a mark.
The movie belonged to Moushami Chatterjee as Pishima’s ghost
😊
While a tighter script and crisper editing would have made a
huge difference, still can be worth a
watch.
Can Watch.
Thursday, April 27, 2017
Marupakkam (The Other Side)
I stumbled on this movie on Amazon Prime. I absolutely love
the way Amazon and Netflix are not just bringing international content at
our doorstep but are also making local content more accessible. With subtitled
versions of regional cinema, I do hope many more people understand and
appreciate this form of art.
A Tamil movie after a long time. I like watching Tamil
movies because of all the South Indian languages, I am most familiar with Tamil.
Marupakkam is directed by K. S. Sethumadhavan who is
actually a Malayalam director. He is a winner of ten national awards with a lot
of critical acclaim as well for many of his movies. I hope I get my hands on
some more of his movies in the future.
Marupakkam is based on a story by Indira Parthasarthy. The
story starts with Ambi (Sekar), son of an orthodox Tamil Brahmin Vembu Iyer
(Sivakumar), who is visiting his hometown with his newly wed Christian bride. Unfortunately,
they are not welcomed by his father. Four years later, we see Ambi returning
alone to his native on learning of his father’s illness. His father once an
erudite brahmin, has now lost most of his movement and doesn’t speak. He hardly
recognizes anyone. Apparently, he learnt of Ambi’s separation from his wife and
that shocked him into this state.
Through bits and pieces, Ambi realizes that his father has a
guilty conscience regarding his first wife Avayam (Radha), and even in this
semi-conscious state keeps on repeating her name. Avayam was an accomplished
dancer and singer. Vembu Iyer’s mother did not approve of her dancing and
forced him to divorce Avayam. He was unable to support his wife and probably realized
his hypocrisy once he learned that father’s sins were being repeated by the
son.
Through Vembu Iyer’s reminiscences, we see just how much he
was in love with Avayam and secretly encouraged her. Unfortunately, he couldn’t
stand his ground when it came to supporting her in front of his widowed mother
who strongly disapproved of the fine arts. A learned philosopher like Vembu
Iyer was unable to answer Avayam when she asked the reason for his objections –
do you have conviction? This formed the root cause of his guilt ridden
vegetative state.
Sivakumar as Vembu Iyer will make you introspect your own
choices in life. Jayabharthi who plays Ambi’s mother and Vembu Iyer’s second
wife Janaki, does deserve a mention. A loving mother, dutiful wife, she grew up
believing that Avayam was of loose character. However, in the last scene when
she sees Avayam while Vembu Iyer is on his deathbed, we see a new understanding
dawning on her face. In one stroke, she understood her husband’s guilty conscience.
It’s a simple movie, apparently shot in 14 days with a budget
of 12 lacs. Yet it delves on the complex issues of right and wrong. Does it
matter being learned if you are unable to stand for the truth? At the same time,
how do you kindly oppose someone’s unflinching orthodox views, especially when
that someone is your mother.
I would say, very relevant in today’s world. How do we
embrace our past and ethos without inheriting senseless prejudices?
Maybe the movie will strike a chord in you.
Do watch.
Monday, April 17, 2017
Satyanweshi (The Truth Seeker)
When a movie is based on a book, how do you review it?
Should you watch it just as a standalone movie with an independent screenplay
or should you compare it to the actual story? If two people review it, one who
has seen the movie directly and one who has read the book followed by the movie
then which one to follow. It’s a dilemma.
I recently ended up watching Rituparno Gosh’s Satyanweshi which
is one from the Byomkesh Bakshi series. In the Hindi speaking diaspora, this character
was made famous by Rajit Kapoor when he starred as Byomkesh Bakshi in Basu
Chatterjee’s series aired on Doordarshan.
Originally this detective was created by the Bengali writer
Sharadindu Bandyopadhyay.
Satyanweshi is based on the story “Chorabali” or Quicksand.
So, I saw the movie first, then I saw the Rajit Kapoor episode and then I read the
translated story in English. Humphhh…a tad obsessive you might say.
Consequently, I have seen two versions of the same story
before writing the review and have also read the original story. Now, I can’t
quiet decide what road to take for the review.
Let me try.
First, the Rajit Kapoor episode is a word by word
reproduction from the story. When I read the story, I could hear Rajit kapoor’s
voice in my ears. Hence, we can bundle up the two for the purpose of this
review. Very scientific eh! A=B.
The movie Satyanweshi, follows the basic plot of the story.
It is set in much earlier times though, of kings and queens and not just
Zamindars. Himangshu is the king of Balbantpur and invites Byomkesh Bakshi and
his companion Ajit for a hunting holiday. On reaching the estate they
immediately realize something is grossly wrong. They learn that the librarian, Harinath has disappeared and the queen blames the king. We see, there are many divergent plots which
are not there in the original story. First, two conditions by Himangshu’s father
for him to fulfil, if he is to inherit the kingdom - Himangshu cannot marry a
non-Hindu girl, and must produce a legitimate heir within three years of his
marriage. Second, while Dewan is kali worshipper Kaligati in the original
story, here these are two separate characters. Kaligati is the family physician
and has a young daughter. He is initially shown fleeing with two daughters from
some other kingdom and one of the daughter mysteriously dies on the way. He
lands up at Himangshu’s father’s doorstep and asks for shelter. Himangshu’s
father realizes that Kaligati belongs to special sect of people who can mimic
any animal and gives him special place in his palace. Third is introduction of
the queen and one of the motive’s for Himangshu to harm Harinath. Alka,
Himangshu’s wife and the queen is very close friends with Harinath. Harinath
was particularly erudite in literature and was an accomplished vocalist. Alka,
herself a singer and an aspiring actress in her single days greatly admires
Harinath and finds solace in his company. Another angle to the whole plot is
the mystery surrounding the name Balbantpur, which very frankly was a little
far-fetched for me.
Unfortunately to write anything meaningful about the movie I
will have to reveal the plot. So, if you haven’t seen the movie, proceed with
caution.
In the original plot, Harinath who is the math tutor for
Himangshu’s daughter, has supposedly disappeared with some account books and
some cash. Byomkesh over the course of his investigation realizes that Harinath
has succumbed to some evil plot and is dead. Kaligati is the old dewan of
Himangshu who can mimic various animals. There is an old hut near the edge of
the estate, it has the jungle on one side and a sand towards the backdoor. As
luck would have it, Byomkesh and Ajit discover that the sand is actually
quicksand. Byomkesh lays a trap and Kaligati is killed by Himangshu. It is revealed
that Kaligati was embezzling from Himangshu and when Harinath discovered his treachery,
Kaligati lured him to the hut and he drowned in quicksand.
In Satyanweshi, there is a completely different twist in the
plot. Alka, has sexual aversion and has no interest in consummating her
marriage and as a result cannot provide an heir to Himanghu to fulfil his
father’s conditions. She sends Leela, Kaligati’s daughter with Himangshu for a
hunting trip resulting in Leela getting pregnant. Kaligati hides the pregnancy
from everyone and sends Leela away. Harinath is in love with Leela. One day he
follows Kaligati and ends up at a dilapidated hut in the jungle. To his
surprise, he finds Leela there with a newborn. He decides to marry Leela there
and then. Kaligati arrives and is surprised to find Harinath with Leela. He
learns of their marriage and promises to get Leela to the temple the next day.
He directs Harinath to follow a path so that no one knows of his meeting Leela
(to safeguard her honour) and Harinath falls into the quicksand and dies.
Kaligati wanted to live his last days as kings’ son’s grandfather instead of just a commoner and hence this deception.
Overall the movie had me glued to the screen. For someone
who doesn’t know the story there is enough suspense. I quite liked Sujoy Ghosh,
as Byomkesh Bakshi. He looks intellectual and a thinker but quick on his feet. Anindya
Chatterjee as Ajit very frankly looked like a baboon. Apologies for such a
harsh critique, but he smiled and acted like one too. Indraneil Sengupta as
Himangshu looks the part. However, his portrayal of a worried husband, falsely
accused by his wife was very one dimensional. Some shades of grey, which made
you doubt his innocence would have added some much-needed gumption to the
movie. There were no hair-raising moments and while you couldn’t pinpoint the
motive, Kaligati remains the only suspect throughout. Arpita Chatterjee as
Aloka as frail hopeless wife played the part. I wish her character was better
defined. There was no real need for her to be frigid. It served no purpose in
the movie. Similarly, the fact that Kaligati could mimic a tiger and a mould of
tiger paw is found in his suitcase again remained a loose end.
This movie was the last movie directed by Rituparno Ghosh before his death. While he had finished most of the shooting, the remaining parts and post production was done by his team. I am not sure if the movie would have looked the same if it was released in Rituparno Ghosh's lifetime.
Just for that.
Can watch.
Tuesday, April 11, 2017
Royal Bengal Rahasya
Yay!
I am super thrilled. Amazon Prime has finally added
subtitles to its Bengali movies and that includes the Feluda and Byomkesh
Bakshi series.
Disclaimer: I have read the entire Feluda series earlier and
absolutely love the detective.
For those who do not know Feluda - Prodosh Chandra Mitra or
popularly known as Feluda is an investigative detective. He along with his
nephew Topshe and a popular writer Jatayu (joined in the later series)
frequently get invited to solve mysteries. This series was written by Satyajit
Ray who also directed some of the episodes initially. Later Sandip Ray took up
the direction.
Royal Bengal Rahasya is a thriller based on the Feluda
series with same name. Here Feluda is invited by Mahitosh Singha Ray to help
him with some urgent matter. Ray is a known tiger hunter and lives in the
jungles of West Bengal. On their arrival, they are greeted by the young
secretary who assists Ray.
Feluda learns that Ray found an old puzzle amongst his great
grandfather’s letters and wants Feluda to solve it. Feluda surmises that the
riddle gives the location of a hidden treasure. Soon the secretary or Tarit
Sengupta is found dead in the jungle as if eaten by a man eater tiger. Coupled with the mysterious childhood friend Shashank
and the mad older brother Debotosh, the plot will keep you guessing.
I will not write more about the story because it has been
adapted with most of the plot intact. Except I do like the fact that there is a
lesser reference to hunting and boasting about it. When the novel was written,
hunting was probably still a royal sport which does give it a gruesome outline
in the modern context.
I do like Sabyasachi Chakrabarty as Feluda. He looks the
part without being overly dramatic though I must say, he is not a patch on Soumitra
Chatterjee. I had seen the initial Feluda films starring Soumitra Chatterjee
quite some time back. Bibhu Bhattacharya is fabulous as Jatayu and provides the
comic relief much like the character in the books. In this particular title, Paran
Bandyopadhyay who plays the mad brother Debotosh Singha Ray has done an
excellent rendition of a mad man. No theatrics, just slight twitch and the look
in the eyes. Saheb Bhattacharya as Topshe is just there nodding his head.
The movie itself maintains the suspense, and doesn’t divulge
the details before time. Though I feel it needed some more hair-raising
moments.
Can Watch.
Wednesday, April 5, 2017
Nammal Thammil
Amongst all these great movies I also managed to see Nammal Thammil, primarily for Prithviraj. But I must confess, after about fifteen minutes into the movie, I absolutely couldn't take it any more. Barely managed to watch the movie in fast forward.
For the basic plot, please visit -
https://en.wikipedia.org/wiki/Nammal_Thammil
Rather, I will suggest don't bother. Much better stuff to do if you have time at hand, even doing nothing will be worth more.
As you can guess,
Do skip.
For the basic plot, please visit -
https://en.wikipedia.org/wiki/Nammal_Thammil
Rather, I will suggest don't bother. Much better stuff to do if you have time at hand, even doing nothing will be worth more.
As you can guess,
Do skip.
Aparan (The Other)
So, I saw another Padmarajan movie 😊
This one is also a mystery\thriller. Unfortunately, the
print I had, had very sketchy subtitles. This did ruin the movie a little bit. It’s
a little distracting when you are not able to understand what the people are
saying on the screen. Despite that I hope I can do justice to this review.
Vishwanathan (Jayaram) is a young man in a small Kerala
village. He lives with his parents and sister and is looking for jobs.
Apparently, he has been to quite a few interviews but without any success. The
family who is waiting to get the younger daughter married, is eagerly waiting
for Vishwanathan to find a job.
He gets an interview call for a job in Kochi. While there,
he steps into a restaurant for some tea and is accosted by two goons. They
accuse him of stealing money and start beating him. Vishwanathan begs them and
tries to explain that they are mistaking him for someone else but they don’t pay
any heed. Eventually the police arrive. They arrest Vishwanathan and
accuse him of being an infamous fraudster. Fortunately, the chief of that
police station turns out to be George Kutty (Mukesh) an old classmate of Vishwanathan
and he releases him.
It turns out that there is a doppelganger of Vishwanathan
who is a criminal. Even police have limited knowledge of his background and
identity. Eventually Vishwanathan joins the company in Kochi. There he meets
Ambili (Shobhana) and falls in love with her. One fine day, Ambili accuses
Vishwanathan of abusing her in an auto. Thankfully, he was in office with his
boss at that time and manages to convince Ambili of this doppelganger. Soon, people
start coming up to him accusing him of cheating them, so much so that his
sister’s betrothal breaks because the uncle of the groom accuses him of pickpocketing.
In a similar misunderstanding with his boss, he also ends up losing his job.
Vishwanathan decides to find out about this lookalike and
bring him to justice. With the help of George, he finds out his background and
learns that he was an orphan and a little older than him. He decides to
impersonate the evil doppelganger and starts hanging out at his frequented
places. Eventually someone mistakes him for the criminal and takes him to a
remote location. Another man ends up paying him 1 Lakh for killing someone and
another 50K for a second murder.
Vishwanathan comes back and decides to run away with the
money. He is about to go to his native village when a phone call comes for him. This
is the evil lookalike. He demands his money.
Vishwanathan still manages to run away to his native with the
criminal in pursuit. After making sure that he has evaded the criminal, he makes
his way to his home only to see his family crying near a dead body. Apparently,
its him.
This movie could easily have passed off for a Hitchcock. In
fact, mistaken identity is the theme of “North by Northwest”. But that’s where
the similarity in the plot ends, and it is as riveting as any Hitchcock. It
will keep you riveted to your seat.
The fact is that you never really see the evil doppelganger,
and only hear him once through the phone call. You still end up hating this
faceless, nameless criminal. You feel sorry for the poor protagonist, who for
no fault of his is caught up in this web. You pray and wish that the criminal
is caught and pays dearly for the trouble he has caused. This is no small feat
in movie making.
Building a persona just in our minds, is a work of pure
genius. Additionally, at times you don’t really know who is who. Given the
circumstances, can Vishwanathan also become his doppelganger, especially when
he is trying to impersonate him. The duality keeps you on edge throughout the
second half.
In the last scene when you see Vishwanathan smirking, you aren’t
really sure, if it’s him or his doppelganger or if he has actually become the
criminal.
Jayaram has done full justice to the role. From an innocent
village boy to a desperate man defeated by this unknown lookalike and then to
man on a mission to find the one who has tortured him, he slips into these
personas with ease. Shobhana hardly has any screen time and rest of the cast doesn’t
leave an impression. But then it is not their story, it is the story of
Vishwanathan and "the other".
Do watch.
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