Ek Theke Baro

I'd read about Twelve Angry Men, saw the movie, Ek Ruka Hua Faisla, but when I witnessed Ek Theke Baro on stage, based on the same story, the experience was electrifying!

The fate of a young ruffian hangs in the balance as twelve jurors deliberate in a closed room to decide on the accused. What will be the decision - will it be the deathly gallows or freedom?Eleven seems certain about the boy's crime while only one has doubts. And here begins the drama. A single case, a focused plot, a single room with a goal for a single decision. But a dozen persons with a dozen views, a dozen perspectives and a dozen traits that they represent had apparently at least a dozen reasons to differ!

But the court wants a decision unanimous and so starts the deliberation. Locked in a room till the decision is reached, some goes hungry while others go impatient. Reason fights emotion while logic pits against bias. Passion prevails while irritation peaks. The sane fights the obsessed and the serious confronts the casual.

Can the truth be ever unveiled? Will the accused get the deserving judgement? The debate that started with the eleven convinced against the one favouring otherwise, not only unwraps the evidences in new light but also exposes the raw perspectives of the general populace. When prejudice unfurls its irrational fangs and obsession clouds judgement, the logical few will always be tasked with the difficult assignment of spelling out the right decisions against the impatiently arrogant and the impertinently ignorant.

Nandikar presents this tremendously thrilling drama directed by Saptarshi Maulik. The director also acts as one of the juries and is correctly critical in his performance as his character demands. Assisting him in direction is Arghya Dey Sarkar who is deputy to Maulik in direction but on stage, his characterisation as the stubbornly passionate and aggressively obstinate jury will easily keep him way ahead of the others. Barishan Chatterjee will deserve a special applause, representing the sober elderly with faith in the youth, in this Swatilekha Sengupta adaptation of the original. Sourav Dinda portrays the insignificant peon with no or only tiny crumbs of dialogues, who starts the proceedings and closes them as well, signing off with significance infused in the character, representing the contrastingly gentle regular worker with defined duties, a mind not unhinged by the stress of taking decision that matters!

The entire presentation is brilliant and will request the fans of drama to watch this display of passion where thrill will flow, emotions will engulf the audience, senses will writhe with the rage that arises on stage as you will never be certain till the very climax whether sanity will prevail and order restored. A fantastic compact presentation that will keep the audiences on edge throughout and time will fleet past with a pace accelerating yet surprisingly steady.

There is a very interesting caveat. There is a wallpiece on stage that runs on real time. Though the actual time will be different but audience may note the duration of the presentation from the clock, clearly in their view, and will surely appreciate the precision of acting in this dialogue intensive presentation that wraps up in style within the duration, announced at start, reflecting professionalism at its finest.

The Unexpected Guest

A cripple lies murdered in a wheelchair and the wife is holding the revolver in a house where almost everybody has a motive to be the killer. But interestingly, a stranger who is stranded due to his car getting into a ditch, stumbles upon the household and plans a misdirection for the authorities to save the wife of the charges. But will the truth be so easy to hide? Will the murderer get away? As the story progresses, the apparent clear case seems to develop in a mysterious murder which is actually noted in the excerpt of Osborne's analysis on Christie fictions annexed as a standalone chapter. The mystery was well conceived though the climactic twist seemed a bit too bland. This novelisation suffers from the fact that the author could not give an original touch in places where it seems more like a play rather than a novel.

Hemendrakumar Roy Rachanabali Vol-XXVIII

With a collection of short adaptations for the young, non-fictions, humourous accounts, eerie tales and detective short stories, the main attractions are the article and historical anecdote sections. Mining from old ‘Mouchak’ volumes, several collaborators have put forward their sincere efforts in the making of this compilation who are acknowledged by Gita Dutta, the editor at the very beginning. Most of the articles contains references to the original publications of the pieces. The collection is categorized as

·        Galpo

§  Ati-Chalaker Kahini

§  Rip Van Winkle

§  Chobir Guptadhan

§  A(n)dhar Raater Atihi

§  Batabi Lebur Kirti

§  Jujur Bhoe

§  Parvat-Dahan

§  Surya Devatar Purohit

§  Bagher Chokh

§  Buno Galpo

§  Jayatu Jayanta

§  Bahadurer NIrbasan

§  The Outcasts of Poker-Flat

§  Kistimat

§  Dulur Bulu

§  Raktapanja

§  Kaler Kabale

§  Agantuk

§  Romanchika

§  Bajle B(n)ashi Kache Ashi

§  Bank Dakati

§  Agantuk

§  Jagrata Hritpinda

§  Jesa Deoge Tesa Paoge

§  Chelebelar Ekdin

·        Prabandha

§  Amar ‘Mouchak’

§  Natun Banglar Natun Kobi

§  Jagannathdever Guptakatha

§  Hollywoode Takar Pahar

§  Kalo Ghushir Bahaduri

·        Aitihasik Upakhyan

§  Rakta Patharer S(n)ataru

§  Mriganayan Mahishmardini

Another very interesting aspect that can be seen is that Hemendra had narrated tragedies in such a way that children can accept it without compromising on the seriousness of the events. He conveys his intense abhorrence to historical wrongs but these seem incomplete as basically being anecdotes for the young readers, the author has kept the references at a bare minimum.

Black Coffee

Poirot’s fussiness to neatness and order could not have been better utilized than this narrative as an immensely important clue is due to that which is pointed out by Hastings surprisingly. Adapted from Christie’s play, the story is set in a single room where a curious murder occurs and the murderer seems seemingly obvious. But with the signature Christie twist the perspective is suddenly changed by the detective. A case of poisoning and theft, the mystery must be solved before the evidence is destroyed and the stolen goods recovered before it falls in wrong hands. A sublime suspense reigns throughout where each suspects the other and it remains to be seen how the secrets are unraveled and misunderstandings cleared.

Sabjanta

Mukhomukhi and Niva arts presented an exciting evening of mystery and comedy. Premiering at Tapan theatre the Soumitra Chatterjee directed Sabjanta is a wondrous presentation of wit and thrill. Poulami Basu excelled in her lead role as did Dwijen Bandyopadhyay as the audience are kept guessing in this comic whodunit. A fussy cleaner of an enterprise seemed to stumble upon a horrible murder and reports of a supposedly walking corpse who vanishes just as the police arrives. Infact the supposedly murdered man returns and makes her look completely like a fool. As she becomes the butt of ridicule, though she herself seemed least bothered, she persists in her narrative. Thus annoying the police continuously when she at last convinces them of a crime again at that moment several evidences disappear. It remains to be seen whether any crime actually happened and who is playing tricks on everybody. Slight fumbles in the part of Bandyopadhyay, which I am not sure it actually happened or not, the entire play has been wonderfully presented. Light was used correctly but a lack of background score was felt throughout. But Basu's acting remains pivotal that kept the audience glued to the seats till the lilting tunes of 'O My Darling' and the closing remarks of Dwijen announced completion only for that evening.

Rajar Chithi 1942

 http://calcuttatube.com/rajar-chithi-1942-bengali-drama-review/159169/

K(n)aatae K(n)aatae - VI

The collection contains

·        Dress Rehearsaler K(n)aata

·        Monalisar K(n)aata

·        Ishkabon-Bibir K(n)aata

·        Haripada Keranir K(n)aata

of which the last couple are undoubtedly adapted Christie pieces, which I’ve read and so can’t give any credit to the originality. But the other two are really good though it seemed a bit complicated. But as I am continuously reading the author’s detective creations it is becoming increasingly like a school teacher’s talk rather than a narration. Also the use of quotations and references from famous literary pieces is sometimes too much for an ordinary reader like me. The main thing that is very much disheartening in these pieces is unlike Holmes, Marple, Byomkesh, Poirot, Father Brown or for that matter Feluda stories, the crux of analysis and detection seems diluted by uncalled for humour and incessant use of metaphors. The stillness of the analytical mind, unperturbed by the disquiet ambience is never felt rather forced into believing by the author, so uncharacteristic of mystery novels that I am used to.

K(n)aatae K(n)aatae - V

P.K. Basu’s four exploits are compiled in this volume starting with Bisher K(n)aata, whose naming itself is a pointer to the clue of a murder that takes place in the very heart of Calcutta. Two vengeful ladies, an irritating lover, a doctor with a revolver all seems to have a reason for murder. But who had dealt the fateful blow – it is for the detective to uncover! The next in the series Darpane Pratibimbita K(n)aata was an old one for me and so won’t bore with its summary that I’d earlier depicted. It is followed by Sakal K(n)aata Dhanya Kore, which could have been easily be said to be the best creation of the author in this collection, but for the fact that it is just a straight adaptation of a foreign novel. So, no credit for the author for the plot but for the way of adaptation with the ambience shifted from European backdrop to an Asian one without harming the mood of the story. The story actually gets its name as the Basus become granddad and grandmom when Sujata gives birth to a daughter. The next one Ch(n)aparanger Murshidabadi Sareer K(n)aata also could have been a classic but for its abrupt ending and some over simplified rationale. The father of the murdered victim seemed so less emotional and Basu’s inferences seemed bordering clairvoyance sometimes. This said, it is again very much irritating to find not only Basu but his clients and associates are also so much happy to dress like Europeans. Sanyal’s characters in his Basu novels are all so alike one another that each lacks any kind of individuality. The intelligence level of the important characters, barring Basu who can be considered no less than a living encyclopedia, is almost always the same, all are so adapt in engineering idioms, everybody loves to speak in riddles and metaphors. These may seem appealing at the beginning but the limitation is very much apparent for this style as it automatically restricts variation in the manner of storytelling. Also, a detective story, according to me, must focus mainly on the mystery and detection with only subtle touch to emotions and the rest. But Sanyal’s way of getting carried off at the emotional moments very often squeezes the very essence of suspense and intrigue. Finally a complain to the compilation as, contrary to the belief, I suddenly discovered that the compilations are not at all chronological and reference to previously unread chronicles may act spoilers and also change the otherwise fast paced tempo of the primary story.

K(n)aatae K(n)aatae - II

The second volume in the series contains three stories, one adapted from Gardner’s novel and the other two from that of Agatha Christie. These Indianised versions are nicely woven with the suspense kept alive till the very last chapters but the first two Uler K(n)aata and A-Aa-Kaw Khuner K(n)aata seemed to have ended very hurriedly and not at all like the third one Sarmeya Genduker K(n)aata. The way the first two plots unfold and the way the climaxes are reached are quite at different paces in the first and the second pieces.

Keeping the sleuthing and adventure part aside, which are of course as good as the originals and also the erudition of the narratives, there are certain features that are irritatingly monotonous. The writer, being and Engineering graduate and a quality scholar could not resist the temptation of using analogies that may only be appreciated by a few and this may exclude the most ardent lover of mystery. Without compromising on the mystery that may have been made more and more complex, if required, the writing could have been more easily refined. Secondly is the use of too much flowery language that shifts the interest to literature rather than mystery. Thirdly is some undue use of humour at places that again lightens up the thrill of the adventures. Finally but more importantly is the tendency of creating a British ambience everywhere. Starting from referring the mere elderly individuals as ‘Saheb’ to focusing on breakfast habits, after dinner drinks and finally making an entire story based on a Christian town - the basic idea of presenting an Indianised detective version of the Western counterparts, that the author stressed upon in the earlier volume, seems to vanish completely. The romance which is due to any detective story, here seems to be more artificially generated than that which naturally evolves in this genre. The characters are different as regard profession but the same sense of humour in most actually robs the narrative of reliefs. The characters seem only to differ in their sense of responsibility and intellect. Most of the individuals show the same degree of refined schooling. Also there is an aggressive use of historical accounts whenever a scope presents itself. Sharing of facts no doubt enriches knowledge but irrelevant sharing mars the actual reading. Let’s see what the other volumes have in store!

K(n)aatae K(n)aatae - I

Narayan Sanyal’s books had always been my favourite, keeping aside the detective ones, which sampled at a very low rate, had never been too dear to me. But somehow or other this time I had an inspiration of buying those volumes, maybe the interest was spurred when I came to know that these are adaptations of Gardner’s Perry Mason novels. So in the last Boi Mela, I bought the Vol-I of his detective collections featuring the bar-at-law cum investigator Mr. Prasanna K. Basu. But the book had a disappointment in store for me from the very start. If not all, but in at least once in the past that I remember, I was irritated in observing the summary of a detective story with its final solution given in the introduction. Though here the summary is not given but the mere mention of the name of a famous play on which the first story was based is sufficient to dishearten the most avid mystery lover from furthering through the narrative. Not only this, but it so happens that this had been earlier adapted by another Bengali novelist and had been also picturised that was also seen by me, unfortunately. Thus much of my enthusiasm was worn out from the very start. But it was, in no time, rejuvenated when I actually started going through them one after another and finding that the literary content and erudition, though not of the highest quality, sufficient and unique so as to appeal to my feebly inquisitive soul. The introduction mainly contains the author’s inspiration on which he created the detective character and here he showers his gratitude and respect to one of the masters of Bengali detective fiction, Shri Saradindu Bandyopadhyay. But his explanation of the rationale behind creation of Basu seemed unnecessary as Gardner’s Mason and Sanyal’s creation bears more resemblance than his claim of Holmes and Byomkesh. The book contains

1. Sonar K(n)aata
2. Macher K(n)aata
3. Pather K(n)aata
4. Ghorir K(n)aata
5. Kuler K(n)aata

I thought the 1^st one will be an introduction of the detective but was again disappointed as I found my homework was incorrect. It appears that the detective 1^st appeared in Nag Champa and this was its sequel and again Sanyal disappoints the readers by divulging the gist of the earlier novel. I won’t go into the detail and will advise the readers not to look into the introductions before completing this one as, when the story gradually unfolds, they will surely relate it to one of the greatest detective plots in the history of crime fiction. Though devoid of complete analysis of the minor characters but this story is sure to bring pleasure to the readers’ souls.

In Macher K(n)aata whose title never seemed quite appropriate, the story has two very interesting aspects that deserves mention. One was the uniqueness of the plot where the readers are completely taken off guard and the plot is extraordinarily simple but mind boggling and the other was the formation of Sukaushali, the detective firm formed by the couple, Sujata and Kaushik Mitra, that was formed on Basu’s suggestion for helping in his investigations. Rani Devi, wife of Prasanna K. Basu also comes to fore as the complete investigating organization is defined here.

Pather K(n)aata contains a dual plot, one being a self declared challenge of Basu to solve a mystery rooted deep in the past and the other is a murder mystery that boosts the suspense till the final surprising twist. In this novel, astrology plays a definitely important part.

But among the novels, the most puzzling seems to be the 4^th, whose start I found to bear resemblance with a story I had read some times back. It is actually a murder mystery committed on April Fool’s day with the motive being a prized lottery ticket that seemed to be possessed by one among a group of friends. The plot, complicated by a rush of several events on the same day, was logically solved by considering the most important factor, time, that seemed to be overlooked by everybody but the investigator-cum-lawer. The interesting point was Basu saves his innocent client of the accusation but do not handover the criminal to the police. It is upto the reader to judge whether this was motivated by Basu’s social ethics or his professional ethics was the obstacle.

Again a dual mystery is weaved in Kuler K(n)aata but here drama overshadows suspense throughout. The story starts with a conspiracy of false inheritance to a blind and wealthy person but quickly the false identity seems to riddle both the conspirators and the victims. This follows a death that though seems natural but the wealth seems to evaporate with the death too. Basu is called to solve both the inheritance issue and the intriguing riddle that shows the path to the treasure.

Most of the stories are gripping and the storylines quite extraordinary but the only regret was the author’s adaptation of foreign novels. If it were original ideas the mystery lovers and Bengali society would both have been benefitted more than what they now are. Another complaint is about the publishers and the proof readers as there are a number of errors throughout the book and some of them quite vital for the detective fiction. The publishers may please look into them for future editions.

Darpane Pratibimbito K(n)aanta

A detective novel of Narayan Sanyal down in the line of the famous 'Kanta' series with the detection family of Prasannya Kumar Basu, his wife Rani Devi and their nephew Kaushik & his spouse Sujata solving itriguing cases.
At the introduction, the author has acknowledged Agatha Christie's 'Dead Man's Mirror' and 'Murder in the Mews' and truly the main plot and the later half of the story matches the 1st of the acknowledged stories quite remarkably.
But as is the case for Mr. Sanyal's work he had carried out his researches fine and had presented the plot with a historical background celebrating the brave Maharaja Mohanlal's heroism in the battle of Plassey in which he, along with Mir Madan went against Mir Jafar's direct orders to protect the motherland from the lusty clutches of East India Company.
It is really a tribute to this unsung hero of India's war for freedom as the storyline is quite old and as I mention, the ditto of a Christie classic.
As the ex-barrister, Mr. Basu reaches the mansion of Raibahadur Jagadindranaryan Seth Roy, in answer to his telegram he finds there an ensemble of Seth Roy's associates and family members, who were invited to dinner by the master of the house. But within moments it is discovered that Seth Roy lies dead in his library room with a bullet wound in his temples. As the local police tries to gather evidence of a suicide, Mr. Basu thinks otherwise and ultimately proves it to be a case of homicide amid a tensed situation, that follows the same dramatic ploy as sketched by Christie.
I have to admit that the case is intriguing and even more interesting is the way the murder is proved but since the model is from a Christie story can't give credit to the author for it.
Setting aside the actual theme, if we just concentrate on the historical background, Mr. Sanyal again outshines himself. Also his signature style of dropping down a bit of personal justifications at places make this a collector's item for Narayan Sanyal fans and I will recommend this for its literary value.

Hemendrakumar Roy Rachanabali Vol – VII

Again another treasure trove of excitement as Hemendra Kumar Roy presents two of his thrilling novels, an adaptation and some of his finest chronicles of history.

The volume contains:

1. Abar Jokher Dhon

2. Nrimunda Shikari

3. King Kong

4. Aalo Die Gelo J(n)ara

In ‘Abar Jokher Dhon’ Bimal-Kumar are on a treasure hunt and again their exploits take them to combat the forces of nature and the evils of mankind in the jungles of Africa. ‘Nrimunda Shikari’ starts with Jayanta-Manik’s hunt for the murderer who severs and takes the head of the victim from the streets of Calcutta. Here we again come across the comic character of SundarBabu and his equally comic associates but the main surprise of the story is in the final chapters when the detective duo gets help from the adventurous pair of Bimal-Kumar.

‘King Kong’ is the adaptation of the classic tale of the legendary ape and here the climax is at Calcutta. Nowhere throughout the story has it appeared to be an adaptation and the masterly style of the writing again takes the breath away at times.

But the best are the chapters of ‘Aalo Die Gelo J(n)ara’ where the author has narrated and glorified India’s past by quoting the exploits of history’s unsung heroes and heroines. On occasions he had touched upon world history too. He has recounted tales from the days of Alexander’s invasion of India, the tragic history of Hasan-Husein, chronicles of the courageous Rajputs against the wrath of Allauddin Khilji and many more.

Hemendrakumar Roy Rachanabali Vol – II

From the days that I had started savouring Bengali fictions till a few days back, I had read only a few of the stories of Hemendra Kumar Roy. Somehow his writings had always passed unnoticed by me. So when I found a catalogue of the Asia Publishing House and discovered that they treasure the whole collection of Hemendra Kumar’s proses for the young, I was quite excited. I found that the catalogue also advertised the index to each book and a glance at them brought back cherished memories of school days when the mere mention of ‘Jokher Dhon’ and the names of the adventurous duo Bimal-Kumar accompanied a thrill down the spine. Added to these were the exploits of the detective pair Jayata-Manik and their fights against crimes. So at the first chance that presented itself in the way of the Book Bazar at Rabindra Sadan, I purchased two volumes of the series.

The index to the 2^nd Vol runs as:

1. Amabasyar Raat

2. Manush Pishach

3. Ekhon J(n)ader Dekhchi

4. Shani-Mangaler Rahasya

5. Chora O Kobita (yet 2 b read)

6. Adrishya Manush

7. Chithi

The fictions (1, 2, 4) feature Bimal-Kumar & Jayanta-Manik and in this volume their ventures carries them to fight against the evil forces of nature that includes supernatural forces too. Normally meant for the primary school goers, but these narrations bring nostalgic feelings of the childhood past when the mind doesn’t understand logic and can smoothly drift to the lands of the unknown. The skilled way with which the author relates the events adds to the pleasure of an enjoyable reading.
There is also the Bengali adaptation (6) of H.G. Wells' "The Invisible Man" with a Bengali semi-urban setting as the backdrop of the events. The original characters have been cleverly camouflaged to suite the settings for a Bengali fiction. So nowehere it has been felt as a mere translation work rather it has unfolded the classic story for the Bengali speaking mass. This seems to be the author's tribute to the original writer.
But the writer's passion emanates in the tributes (3) to some unsung and some renowned personalities of Bengal and India. The first few chapters are dedicated to famed wrestlers of the time Gama, Chotogama, Hasanbaksh and finally Jatindra Guha who was more popular as Goborbabu. He goes through Goborbabu's journey to fame not only in the country but in foreign soils as well and the romance of his character blossoms beautifully in the pen of Hemendranath. He is passionate while describing Gobarbabu's rise to fame and is equally exasperating while narrating the dirty foul against him in the USA. I was even surprised to know that this great wrester was also an appreciator of music. Hemendrakumar also writes on the prominence of Jamini Ray and his paintings and while speaking of music, he offers his praise to the blind songster Krishnachandra Dey's lyrical musicals who lent his voice in Shishirkumar Bhaduri's plays after much persuasion and immediately earned praise there. The author also praises the works of poet Kalidas Ray and singer Dileepkumar Ray.
In ‘Chithi’ the author has paid tribute to Kabiguru Rabindranath Tagore and his works including his work for the children and also laments at his loss. The author had always acknowledged the great poet as his Guru in the literary world and says how Rabindranath had been the best portrayer of the Mother Nature. He also admires the poet’s work for the children and marvels at the volumes he had written for the children. He goes even further in saying that no author before Rabindranath had given more time or had shown more interest in composing delightful literature for the young minds.