Chupkatha

A pleasantly refreshing flurry of four performances touched the heart of every viewer at Tapan Theatre on the last day of November, this year. With three mimes (Chup) and a drama (Katha), the passion that was briskly crafted was truly addictive. The contrast was perfect with the mimes speaking through the silent performers and the drama, which was a talkie, resonating the silence of the souls that suffer the most.

Premiering in the City of Joy a day before, the presentation of the Bangalore based Ekalavya Performing Arts was uniquely styled in a superbly orchestrated medley of various facets of society.

The opening depicted the Puppeteer, glibly wielding command on his string of puppets, completely unaware that we are just the toys of destiny, fatefully dancing to the tune that the All Powerful has scripted for us.

This was followed by Web that unveils the darker side of the digital space as the viral addiction to the Internet cripples relations and threatens to destroy societies. The uglier face of this infectious network is revealed as users are entrapped, haplessly similar to the unsuspecting preys in the net that a spider weaves, away in a virtual world, stripped from those who were once so near and ever so dear.

The next was a mime with a difference, a solo performance by Bodhisatta Sarkar as he enacted the essence of Ei Mrityu Upatyaka by Nabarun Bhattacharya. A mime with a recitation in background - unique at least for me! Although I must confess that my experience of watching mimes is limited to a very few, but I cannot remember a drama like this being seen before.

With the mimes completing the phase, began the tale of harmony in a play titled Bhasan that ushered in a promise of life borne out of the tears for those that are untimely lost. Every instance that the evils fight, the motives being masked, on occassions, by religious pretences, the innocents always bear the brunt most severe, as humanity is immersed in the muck of hatred. But these naive and the sane are those that infuse hope, which gives meaning to life and guides to ensure that humanity prevails.

Scripting two of the mimes and the play and directing all four, Bodhisatta Sarkar leads a team of talents with a care to script the coarsest of society with the subtlest of artistic touch, his message being conveyed loud and clear yet keeping the enrire show enthralling and sober.

A great watch for all ages, the group will be eagerly awaited for future shows in the coming years.

Jato Kando Kolkatatei

Topshe turns Feluda in this hunt for a mysterious treasure that traverses Kolkata, traces a few steps back in Bangladesh and touches Darjeeling and Kurseong as well.

Saba from Bangladesh arrives at the Roychowdhurys in Kolkata with the story of a lost lineage - the story of her maternal grandfather. Queerly enough, a letter, very important but lost accidentally from the Roychowdhurys, traced its way back to the mansion, roughly simultaneously. The letter embeds a message via a deceptive riddle that hints at a mysterious treasure, hidden in a secret recess.

The adventurer in Saba is immediately aroused. But she needed a guide. So enter Tapasmitra aka Topshe, a seeker of old history by passion. Thereafter, starts their quest that attempts to solve the strange case of a disappearing couple, recover a secret treasure and in the process, stumble upon yet another mystery of a murder from the past, which was never really solved. Bonding over their common admiration of the great Ray and advised by Bodhida (their very own wise old Sidhujetha), a retired cop, erudite but sadly crippled, Topshe and Saba dives deeper through the past while averting threats to their present! With a motive to crack dormant mysteries, the journey puts forth unforeseen twists.

Anik Dutta weaves a tale with tribute to Satyajit embedded. Touching several Feluda novels and references, the screenplay (Dutta and Utsav Mukherjee) is fast and pleasant. The theme is further augmented by the opening score of Debojyoti Mishra that blends Mozart with Ray and sets the mood readily from the initial moments. But, somehow the grip is lost midway, maybe due to certain forced dialogues and events that appear to be less rational but only being nicely coincidental. However, Abir Chatterjee is brilliantly refreshing and imbibes correct enthusiasm almost throughout the movie as the theme demands with his spirited act. Ably supporting are Mithu Mukherjee and Dulal Lahiri with their performances, characteristic of seasoned veterans. But the sweet composed role of Aparajita Ghosh Das deserves a special appreciation for her emotionally correct composure in a role that she played with the perfect poise and balanced dignity.

The movie is thus a good choice to watch but falls short of being remembered and though suitable for the young adults but parental guidance will be advised for the audience comprised of the mildly matured batch.

picture: Arghya De

The Eken: Benarase Bibheeshika

After Ray penned Joy Baba Felunath and quickly crafted a movie based on the novel, the sacred city of Varanasi turned to a city of mystery for the Bengali readers and the addicts of Bengali films.

So much so that Arindam Sil relocated his adaptation of Bahnni-Patanga to Benaras in Har Har Byomkesh, a marked difference from the original as penned by Saradindu Banyopadhyay. Thus we had both Feluda and Byomkesh solving a case apiece in movies at least here, reaffirming the status of the place as a city where mystery brews.

Following the tradition, Joydip Mukherjee takes Ekenbabu through the city this time to solve mysteries. With a tribute to Ray and his creations and with apparently a subtle Byomkesh touch, the case surrounds a plot that endangers the city.

Based on the story of Sujan Dasgupta and scripted by Padmanava Dasgupta, the thrill starts early with a blast that rings alarm among the police while grips the heart of the audience with suspense. As the blast is traced back to Belal Mallick, the infamous crook, the authorities anticipate further strikes. As his presence is felt in the city, the police and the agents of the Special Task Force start to sieve through each avenue to apprehend Belal, feared for being an explosive expert and famed equally for being a skilled specialist of disguise. 

As the moments gradually turn tense, Ekenbabu and Bapi accompany Pramatha to Benaras on a sudden invitation of Pramatha's friend, Subimal. Subimal eagerly invites the trio to their mansion that he shares with his uncle, Bireshwar but their visit seemed not too cordially accepted by Bireshwar's very young wife, Damini.

A collector of rich antiques, Bireshwar perceives that he is being robbed of his prized possessions and wishes Ekenbabu to look into the matter. But his frequent loss of memory, resulted apparently due to the aggressive treatment of his cancer and a sense of secrecy that he maintains, prevented him to elaborate on his ideas.

Smelling a scent of something fishy and hot on the trail of smuggled artefacts, Ekenbabu curiously gets embroiled in the search for Belal and gets to peek in the case of the bomb blast as well.

The movie blends adventure with mystery and starts at a happy pace but climaxes a bit too abruptly with several ends, let quite loose and very vaguely explained! Joydip Mukherjee directed the movie for the young adult and the age beyond but a little more detailing and critical thinking would be advisable for future projects in the franchise, which will be hopefully continuing! But the best part of the picture is the superbly synchronized acting of the trio Anirban Chakrabarti (Ekenbabu), Suhotro Mukhopadhyay (Bapi) and Somak Ghosh (Pramatha), who keeps the thrill intense while providing ample refreshing snippets with their perfectly tuned timings during comic sequences. Saswata Chatterjee (Belal Mallik) is a surprise disappointment along with Biswanath Basu, both of whom perform well below than what we expect of them! Gaurav Chakraborty (Subimal), with his natural gracefulness, fits in well in a character, which essentially demands just that. However, Sagnik Chatterjee plays another fine support though with a bit sterner look than required, at places, but would like to welcome his appearance that eagerly commits to the character that he portrays. The other person who is equally committed to her role is Ishaa Saha (Damini) with her accent convincing of the lineage meant for her character, a feature that Sagnik slightly lacked and she played a correct support to the suspense that the narrative with so many angles quietly needed.

Thus, in a nutshell, the movie is a pleasant watch for the summer holidays but surely had the potential to perform far better!

War of Lanka

The Vayuputras had agreed that the Prince of the Ikshvaku dynasty be declared as the deemed Vishnu!

The chief of the Malayaputras believed that the warrior Princess of Mithila was better suited for the role instead.

But, curiously enough, all seemed to depend on the enemy of the Aryavarta to establish the belief of the saviour in the minds of the masses that needed to be saved!

The events narrated in the book follows the three preludes that converge to a greater spectacle ahead.

With Sita kidnapped by Raavan and Ram enraged, a fierce battle is imminent. But though we eagerly await the betrayal of Vibhishan, the defiance of Indrajit as he wedges a brave aerial battle and of course, the great duel between Raavan and Ram, yet the ingenious imagination of the author in sketching the sacrifice of Kumbhakarna, the espionage of Naarad and the uniquely united stand of the diversely talented Suryavsnshi siblings against evil are the few among the many that depicts the fateful events of the Ramayana in a modern light with rationally realistic perspective. However, the compactness due of the composition thus created and the touch of subtlety that could have been enjoyable, are affected adversely by too much elaborations in descriptions and philosophies preached that hinders the satisfaction and disappoints the flow at frequent instances!

Chaalchitro: Canvas of Cruels

Based on a police thriller, the movie grippingly starts on a high note but falters as the thrill peaks. Written and directed by Pratim Das Gupta, the story might have been better crafted and less tersely edited (Antara Lahiri), as the pace of the movie is inherently quite fast.

A serial killing spree grips the city when women are found killed and the bodies pinned up in the manner, reminiscent of a series of murders that happened long ago! With the earlier killer already serving his sentence, DCP Kanisha Chatterjee (Tota Roy Chowdhury) and his investigating squad are baffled as the killer strikes again. With the only common factor being that all the victims had broken off their marriages prior to getting killed, the police starts keeping vigil at probable targets. But as collateral wrenches the heart and the body count grows, the police must act fast as the murderer gets desperate!

A narrative like this was meant to top the charts, while picturised, but was marred by sequences that were fast, unnatural and unreal.

However, this movie should be watched at least once for three reasons.

The acting of the supporting actors who just overshadowed the main cast. Anirban Chakrabarti was precise and sober, Ziaul Faruq Apurba dominated with grandeur in his curt presence and Tanika Basu was simply outstanding. No word will suffice to describe what she achieved in a role that I feel, will be most difficult to play at any time by anyone!

The next best thing to be noted was costume design by Sabarni Das. The dresses were plain and simple mostly, and fitting and realistic for the occasions captured.

But the best of everything will be the music by Debojyoti Mishra that soothes the senses and gives the movie a much needed grace in the midst of too much gore.

With content fit only for the matured, the movie will be a mostly enjoyable watch!