Nayan Rahasya

After Hatyapuri, the fresh chemistry of Indranil Sengupta, Abhijit Guha and Ayush Das return to solve mysteries as Feluda, Jatayu and Topshe respectively on a new adventure that spans across a part of the country. This time the plot centres a little boy, Nayan, who apparently can see decimal digits in front of his eyes that helps him to correctly answer any numeric question posed to him by anybody.

Identifying the paranormal trait in his son, his needy father takes him to a budding magician, Sunil Tarafdar, who immediately assures to include Nayan in his stage shows against a monthly allowance to the father and providing upkeep for the boy. With his position becoming regular in the magic shows, Nayan instantly attracts attention of many with varied interests. There are some who would like him to assure their gambling wins while others would want to showcase his abilities worldwide. Again there were others who would want Nayan to reveal their forgotten passkeys while there would be obsessive collectors lurking, ready to stoop low enough to snatch Nayan away from his free life and place him among their prized collections. Everything happens as Tarafdar gears up for his South India tour, backed by his mysterious sponsor, who wishes to remain anonymous.

Soon a kidnapping attempt on the boy right from the residence of Tarafdar follows. The worried wizard seeks the help of Feluda and Co who offers to help by accompanying the boy and the magic party through their upcoming tour. But the task of protecting the boy becomes difficult as, thanks to Tarafdar, media is briefed of the tour well in advance who publicizes the event much before the tour begins. Also, Feluda is forced to take another case of a businessman, allegedly fearing for his life. Thus the stage is set for a showdown as threats pile up while protecting both his clients.

The original novel had never been my favourite as fantasy prevailed over mystery but it seemed on afterthought, that the novel had the ingredients for a commercial movie with magic, action, paranormal, theft, murder and the climactic twist. Curiously however, all these being shown, but the actual essence of suspense and tension is missed somehow. The entire presentation thus becomes bland and only fit for the less matured. The background score was insufficient and the direction was not up to the mark. Infact, pondering over whatever the film offered, the editing will also be held responsible for the less crisp finale. Thus, Sandip Ray gives us something that the entire family may watch together but the refreshing Ray touch is disregarded entirely.

As to the acting, two persons stand out among the flock. They are Abhinav Barua as Nayan putting up a splendid show, perfect and naive, just what the character required and Supriyo Dutta as the crazy collector, T N T. Indeed, Dutta steals the limelight in most of the scenes he features and breathes the much needed energy and relief in the otherwise impassive settings with his animatedly menacing gestures and spontaneous playacting. Frankly speaking, I have liked Indranil Sengupta with his natural smartness and humility as Feluda and if he could manage to improve his dialect, he will indeed be a better Feluda, given his characteristic inclination of not copying the style of any of his predecessors. Ayush Das complements well as Topshe and devoid of any street smartness, might shine as a better successor if he matures in the line that the character demands, the subtle apprentice and the primary admirer of the sleuth. Abhijeet Guha is another person who understands Jatayu better than many and thus we get a happily comical Jatayu, in a more responsible role this time, instead of a jester that many had previously and of course, mistakenly, characterized.

In summary, similar to what Feluda advised to Tarafdar about the missing splendour and grandeur that his neat magic show demanded, we can reiterate only similarly the need of a bit of intellectual sparkle in future Feluda movies to augment the appeal of the uncomplainingly compact version of the silver screen release.

Deep Focus Reflections on Cinema

Deep Focus is the way Ray viewed cinema in the international arena, arranged in the form of essays written by Ray in several publications. His view on cinema, how the artform evolved, how it is analysed by audiences in various countries, is portrayed in the chapters. Glimpses of his own works have also found obvious references in the articles. Some chapters are also on notable cinema personalities whose works had a marked influence in defining the course of cinema worldwide. His lament on the national cinema arena is also quite applicable today when the talkies seems less mature than their foreign counterparts.
The book is introduced by Shyam Benegal who was influenced by the work of Ray in his early years so as to watch Pather Panchali twice in succession in the same day when Ray was not a familiar name in movie directions. The book also contains the entire filmography of the master which is equally a prized possession along with the other contents of the book. The preface is by Society for the Preservation of Satyajit Ray Films where it makes an appeal for preserving the work of the legend in the city of his birth.

Pikur Diary o Onyanya

This book had been among the prohibited few that my parents asked me to keep at bay for the right age. So when that age came, at least when I felt it came, I pounced on it in the bookshop to be introduced to the writings for the adults by Ray, who is more famous for his literary creations for the young. The book consists of Pikur Diary, where the diary of Piku reveals the daily details of his family in the coarse form that is to be expected from a child of his age but which also reveals the genius of Ray as he used the dialect of the child along with the obvious spelling mistakes while revealing the mature details with subtle clues. The next is the script for the movie Piku, which actually is a major deviation from the story and is acknowledged in the introduction by the writer himself. There is also another script of Shakha-Prasakha, but it is again one of the earlier versions for the movie. There are a couple of science fiction, Sabuj Manush and Mayurkanthi Jelly, with the latter more suspenseful than the former. But the most hilarious is Aryashekharer Janma o Mrityu which shows how the intellectual impetus of an unfortunate genius becomes too much for the society as well as for his self. The book with its various hues will be enjoyable for its cohesive diversity.

Punascha Professor Shonku

The collection contains

• Ascharjantu
• Shonku o Adim Manush
• Shonkur Parolokcharcha
• Professor Rondir Time Machine

The range of the stories span from the prehistorics to the future. Quite interestingly one of the stories actually starts with a failure of Shonku in devising a new instrument but the adventure remains supreme. Another contains an inkling of today's X-Men, maybe the visionary in Ray could also imagine the extended realms of imagination too. The shadow of a Conan Doyle theme and the afterlife becomes the theme of another exciting adventure. There is the prehistoric man and human evolution that is also investigated. A further appeal is the coloured photographs that had been a rarity in Ray classics. But altogether these are not so exciting as the older adventure. So for completing the collection this is a necessity but may not be satisfying to many.

Jabar Baro

This particular collection of Ray's dozen stories seems a bit disappointing as though it contains one of the most varied collections ranging from some of his short stories, punched with some of Tarineekhuro's narratives, culminating in the traditional style with a Feluda story and also containing, for the first time, a play and a couple of vernacular translations of Ray's english stories, but it lacks the regular Ray charm. Though Tarineekhuro returns in style with Mahim Sanyaler Ghatana, Ganatkat Tarineekhuro and Galpabolie Tarineekhuro, the twists progressing more unpredictably and enjoyably more than before but curiously Sakuntalar Kantahar lacks the characteristic Feluda wit and the Ray humour. The translations, courtesy Sreemati Bijaya Ray, titled Puraskar and Barnandha, matching in their theme and another very interesting aspect that the characters are nameless, but they are contrastingly enjoyable and gloomy respectively. Haaui is a refreshing play and as far as I can place it, this is an adaptation of one of the author's own short stories. Shilpi and Pratikriti are again thematically similar but while the first has a delightful twist the later is abrupt and disappointing. Abhiram begins with a promise of suspense augmented by its illustrations but the climax is almost totally predictable. But the best of the collection is Mrigankababur Ghatana which borders sci-fi and will be remembered by the readers for its classic blend of psychology, suspense and the signature twist which again reminds us of the master story teller. Brajaburo reflects another socio-psychological aspect which is enjoyable as a story and reveals the stark truth of loneliness.

So though it is a collector's item for completing the Ray works but some of the narratives are far from the average as far as the author is concerned. So readers may shop for it but might as well keep their expectations a few octaves low. The illustrations are though not all by the author but the others has done justice to the stories. These are at par will the original style of the author.

Swayang Professor Shonku

The compilations contain three of Shonku's two very interesting adventures and one story of invention that takes an unpredictable turn. Compu, among other things, serves as a reminder to the tech dependent human civilization in the same way that Asimov did in numerous occasions that shows us how smart machines may evolve in the most undesirable fashions possible when the inventors' control is taken up by the intelligence that is infused. That this aspect of the computer dominated society could have been foreseen by Ray in so early a time when the processors were just inching its way in the country, once more tells us about the visionary in him. This story is sandwiched between two full fledged adventures Munroe Dwiper Rahasya and Ekshringa Abhijan where Shonku teams up with other explorers to quest for the strangest whose charm seemed to appeal to me more than when I enjoyed in my younger days. In one the voyage is to a pirate's cove for the trail of the cure-all and the other is for the search of the most beautiful monastery, the Unicorns and the art of flying. The former is primarily a tragedy where a dangerous truth is uncovered while the rationale of the other is nicely explained more by the artist in Ray than by the scientist in the protagonist. Three of Shonku's recurring associates feature here viz., Saunders, Kroll and the most unscientific Abinashbabu who balances the wit of the story. The book is also a contrast to the series in the sense that discovery has the lion's share than inventions.

Selam Professor Shonku

I had always been an ardent collector of Ray's works. But the collection, published posthumously, had quite some oddities in store. Not because it contained the incomplete Intelectron where Nakurbabu would have starred promisingly as well as Drexel Islander Ghatana but for some other facts. Infact the incomplete works will be cherished forever but for the fact that the final one conflicts with Prof. Shonku's own note in Swarnaparni about the actual date of his birth. The later and Don Cristobaldyr Bhabisyatbani had been the best of the collection where his friend Saunders played a very vital role in both. Also it's very much apparent that Ray condemned Hitler's obsession as was apparent from it as well as from Shonku o Frankestein where the discovery of the scientist of the famous classic has been given a new life. The stories also feature a philosophical Ray where afterlife, rebirth, power of mind over matter, nostalgia seems to hover very similarly as Sukumar Ray's final verses. But disappointment accompanies the starter Nefrudeter Samadhi and Dr. Danielir Aviskar, the later sharing the plot of Dr. Jekyll and Mr. Hyde, both of which starts with Ray style but completes abruptly, so unlike Ray without the signature finishing twist. The illustrations are mix of Ray's orginals with that of Sameer Sarkar though marked difference of the styles being prominent but both complements the other well.

Mahasankate Shonku

I've often marvelled at the choice of the title that Ray chooses for his which aptly summarises the compilation in a book and serves as an illustration of the very popular but quite complicated essay that almost every student faces - explain how the title justifies what follows! Thus it was turn for the master professor to be faced under dire circumstances in three different scenarios that starts with a curious case of a damaging impersonation in Innsbruk titled Shonkur Shanir Dosha, continues with his three friends as they explore the mysterious alleways of alchemy in Shonkur Subarna Sujog - another apt double description of what follows and finally concludes with the dangerous and eerie Hipnogen in Norway where help comes from the most unexpected quarter.

As always the Ray charm was as green as ever but there were some interesting facts that I unearthed this time. The 1st of them is a confusing event that after getting invitation from a foreign land, Prof. Shonku could start on the journey in five days - is it that in the 70s the visa processed so quickly? This is more probable as I haven't come across a Ray composition compromising in details. The 2nd is that in the concluding episode there had been references of Odin and Thor and they had been correctly described as Greek Gods. But as I knew that Thor was the son of Odin, maybe this needs clarification as I cannot imagine that Shonku, and actually Ray who had always educated us with short explanations of even the mundane, never expressing this thought. The 3rd and the 4th which just came to me were Ray's appeal to Conan Doyle novel as the climax of Hipnogen bears a slight resemblance to that of "The Black Panther" and the protgonist professor is again a Bengali compliment to the fierce Challenger, the similarity being in their confidence in science and their love of adventure.

Shabash Professor Shonku

I seem to rediscover Ray as I went thru the exploits of Shonku again after a very long time. It may be a science fiction but it is more than entertaining. The simplicity of the story echoing the simplicity of the inventions that Shonku insists on makes it more and more appealing. Though his discoveries are astounding but the sincerity of the diaries makes the events more and more realistic. Infact the research into the topics also must be appreciated that makes the stories for the children enjoyable even for the mature minds. So the evolution of the Ascharya Prani, the beastly flora of Swapnadwip, the curious adventure in Marurahasya, the avian friend in Corvus and the ingenious invention of the professor in Dr. Scheringer Smaranshakti will never cease to wonder us.

Shonku ekai 100

Robots, intelligent beings and aliens have always found a deligtful place in sci-fi. So it is only natural that Prof. Shonku will be introduced to these at some stage of his scientific adventures. The thrill of adventure mixed with the science fictions thus gave it the signature flavour but Ray's masterstroke seem to lay elsewhere. He introduced a unique character in the shape of Nakurbabu. The so ordinary Bengali accidentally gifted with not so ordinary abilities that Shonku also finds extraordinary to the extreme. This character has been a particular favourite to me and his evolution in Shonku stories has been so natural that he never seemed out of place. The stories also feature Shonku's long time associates - Saunders, a grim believer in science till he came in touch with Nakurbabu and Kroll, a scientific man but contrastingly with a strong interest in occult, voodoo and phenomenon that can't be explained by science. Another particular uniqueness of the author is the description of the well known sci-fi characters. The UFO's are of shapes that are not only characteristic but the stories actually convinces the rationale of the shapes. In fact in one of the stories I found some uncanny similarity of one of the gadgets exhibited by the UFO and its evil use (thought by Ray so long ago) that resembles the same in the film Independence Day (released quite a few years later). So the volume containing Mahakasher Dwut, Shonkur Congo Abhijaan, Nakurbabu o El Dorado, Professor Shonku o U.F.O. is again an item that collectors will crave for.

Professor Shonkur Kandokarkhana

Professor Shonku has fascinated me more and more as I grew up. He had been a magical character when I read it first but slowly as I grew up I can understand the image that he represented. The honest Indian scientist revealing to the world the brilliance of his inventions and being held in highest esteem around the globe by peers is yet so humane in heart that he cherishes his home, his cat, his servant and even the company of his fussy neighbour Abinashbabu above everything else. So when Shonku sets up on his fictitious scientific exploits we revel in the wonders that he unfolds yet never do we feel distanced from him. Illustrated by the great Ray himself the collection contains

·        Professor Shonku o Robu

·        Professor Shonku o Kochabambar Guha

·        Professor Shonku o Raktamatsya Rahasya

·        Professor Shonku o Gorilla

·        Professor Shonku o Bagdader Baksho

The stories are a mixed compilation of suspense, horror, humour and thrill balanced delicately to retain the flavor years after it was first tasted. Stories of science fiction with the first story apparently reflecting Asimov’s concern for a machine dominated society so wonderfully contrasted with the fantastic experience in the final one that an unique freshness prevails that is so absent in works of many science fiction writers. The themes of the central three are again so alien to the flanking stories yet it seems so necessary for the completeness.

Ba! 12

Have you ever wondered how to tackle an hour long monotonous bus journey during a rainy season? If you have, then take hold of a Ray book and all the boredom in the world would vanish. Infact be it a boring time or a soothing holiday afternoon a Ray in hand is always a treasure to cherish. It freshens the mood while stirring the intellect.

Published posthumously the collection contains some of the memorable classics penned by Ray including a Feluda thriller but remians unique in the sense that this is the only collection of dozen stories that contain Tarineekhuro’s adventures and that too four brand new ones.

• Natun Bandhu
• Shishu Sahityik
• Nitaibabur Mainah
• Rantur Dadu
• Dui Bandhu
• Akshaybabur Shiksha
• Prasanna Sir
• Juti
• Maharaja Tarineekhuro
• Tarineekhuro o Oindrojalik
• Norris Saheber Bunglow
• Dr. Munsheer Diary

Though some of the stories contain plots akin to his earlier works still they are enjoyable just for sheer creativity. A few printing mistake and a slight but obvious error, which in all my previous readings remained undetected, seemed to be the only disappointments in store. The added appeal is Ray’s sketches and the Ray Jr’s cover design. Gifted by my father within months of its publication this easily finds its place among one of my all time favourites.

Professor Shonku

This book is special in many respects. In my younger days when I started relishing works of Ray starting with Feluda through his short stories and Tarinukhuro, the science fiction hero had been something quite remote to my imaginations. In this situation there came Professor Shonku’s adventures in my collection and I was not sure whether to compare him to Feluda or to enjoy the adventures. The regime of science fiction before Shonku had been not so defined in my fantasies. Also imagining a Bengali science fiction hero carrying out exploits to the bewilderment of the entire world had also been something not very realistic to someone whose entire world of science fiction resided in watching Star Trek and Johnny Soko episodes in monochrome. So Shonku had been more than a revelation to me. He allowed me in my childhood days to feel confident that a successful Bengali scientist is also a reality. True that Ray’s work is based on fictional character carrying out fictional experiments sometimes in fictional landscapes but Ray did mould Shonku as the next door neighbor who happens to be a genius. The school goers may not be always feel motivated to read narratives on Jagadish Chandra Bose, Satyendranath Bose, Bidhan Chandra Ray, Meghnad Saha or the other greats who contributed to the evolution of science, but they will surely read Shonku. So the craziness of science and its sure path towards truth will no doubt creep into their mind and also they will not fail to understand the fun side of it. This character of Ray is not unlike his famous private investigator but he seeks truth hiding beneath the depth of nature.

Coming to the significance of this compilation, this happens to be chronologically the 1^st of the Shonku adventures. But curiously enough I could not collect it but for many years as the shops that I frequented always produced other collections but not this one to my queries. So as I was losing hope of ever getting it and seriously doubted whether this collection at all existed, it suddenly came to me. It seemed to fill up the void in my collection. Another point which I then found out was that, unlike the others being published by Ananda Publishers, it was published by New Script.

Being the 1^st in the series, the stories will grip the attention from the very 1^st introduction and the interesting manner in which completed Byomyatrir Diary came to see the light of earth. A horrifying experience awaits the reader in Professor Shonku o Haar with an immediate relief in Professor Shonku o Macaw. Then is another thrilling story of an Epytian curse in Professor Shonku o Egyptio Atanka. Following up the suspense is one of my favourites, Professor Shonku o Ascharya Putul. The next is another that I admire most, an intergalactic adventure that will keep the thrill till the last in Professor Shonku o Golok Rahasya following it up with yet another fascinating, horrifying, amusing and another of my cherished memories as I think of Professor Shonku o Chee-Ching. The rest delves in the mysteries of two very different aspects, the human mind in Professor Shonku o Khoka and in Professoru Shonku o Bhoot which delves in the spectral world.

Robertsoner Ruby

This is supposed to be the final Feluda story that takes the trio to a tour that originates as a holiday but turns to an adventure protecting a ruby of historic importance and immense value. Though it was published posthumously in the book form, the appeal of Feluda lingered in the first few chapters. But disappointment will be in store near the climax which has been diluted by not so logical conclusions and an incompleteness not meant for a novel. The story follows the descendant of a British soldier in whose possession was a ruby looted during the suppression of the Sepoy Mutiny and who wanted his predecessors to return it to its place of origin. So Patrick Robertson brings the ruby back home with his friend Tom who seemed to have some ulterior motives of his own. Along came many traders willing to buy the gem at a high price and strangers eager to help the tourists. As tension grips in Tom is injured in a covert attack and the ruby is stolen. But the climax is not during recovery of the ruby but in the way Feluda solves the identity of the criminal which again seems not so rational.

Nayan Rahasya

Feluda had been introduced to fantasy from Sonar Kella but Nayan Rahasya is not at all the same classic. True it contains the sharp intelligence of Feluda but fantasy and unrealism dominates more than anything here. Another point that fades its appeal is that evidently the three musketeers have aged, not in years, but in their maturity. So the conversations and justifications seem to get the better of the novel rather than the novel itself. The story can be considered a rather ordinary one but for two instances - the first being the adventure in the caves of Mahabalipuram and the second being the way he solves a murder. Theft within theft had also been a feature of the story but quite unlike Ray novels, the fate of at least one of the characters has remained incomplete. So in all this may be an item to complete a collection but it may not be a favourite past time for several readers.

Eker Pithe Dui

My favourite of Ray's assortment of a dozen short stories with horror, ghost, sci-fi, adventure and a mystery blended in the hardback. the content runs as

• Anukul
• Telephone
• Aami Bhut
• Kaagtarua
• Lakhpati
• Ganesh Mutsuddir Portrait
• Nitai O Mahapurush
• Kutum-Katam
• Nidhiraamer Icchapuran
• Raamdhaner B(n)ashi
• Master Angshuman
• Bosepukure Khunkharapi

The best part of the collection is the usual thrill of the twist at the climax is heightened by extreme fiction that has been masterfully masked till the finale. The stories include a humanoid robot with senses more like humans, a call from the land of the mist, narrative by a ghost that has been followed by a curious dream, the transformation of a proud soul, extraordinary skill of an artist, a horror adventure, a funny metamorphosis, a terrified ghost, a short adventure in Master Angshuman, my favourite in my younger age and the pick of the lot and finally the mystery surrounding the murder and the family of an opera artist. The stories are so designed as to keep its impression lasting for years if not decades.

Double Feluda

Some stories lose their appeal too soon, some doesn't at all but there are some that has an increasing appeal as we grow old. Ray's works are like that as the young readers in us miss certain details while reading it the first time and enjoys the adventure of Feluda stories while when it is read at a later date, since the mystery is already know the focus is on the other aspects of the story. The various characters that are introduced, how their true nature evolve in the eyes of the investigator, how coincidences become necessary for the writer to concise the converging events - all these are better appreciated. Double Feluda with its pack containing Apsara Theatreer Mamla and Bhuswarga Bhayankar was such a revelation to me especially the later one where the beauty of Kashmir has been revealed and the mysterious backdrop is created with the utmost care. While in the first one, the mystery involves threats, disappearances and murders of stage actors of Apsara group at Calcutta the second one centres at the picturesque Kashmir with murder happening at quite a later stage and the introduction part increases the appeal and the complexity by quite a great deal. The first case is one where Feluda's observation power seems to be established once and for all as he solves the crime just by sitting at his home, the sleuthing being mostly done by Tophse and Jatayu. But the other case sees the researcher in him as a he travels in Kashmir is search of information so needed to find the criminals.
Ray's penmanship once again portrays the characters with such precision that the situations evolve succinctly before the eyes. Only one point where my personal dissatisfaction lies was in the person in Feluda who sees murder to be a graver crime no doubt, but when it is done as a rightful vengeance then also he doesn't show mercy. So much different from Byomkesh maybe Ray did this as his target seems to be children and he took the utmost care to prevent any shred of doubt to creep into the young hearts as to the wrongfulness of murder. An enjoyable read no doubt, the latter part can easily pass as a travelogue as well.

Darjeeling Jomjomat

Feluda returns to the place from where he started on his first investigation but this time accompanied by Jatayu and on the invitation of the famed Bollywood director Pulak Ghoshal on his venture of picturisation of one of Jatayu's adventure novels. But as it always happens that adventure seems to chase the trio even on a supposed pleasant vacation to the hill station. This time it was homicide of the aged Birupakhya Majumdar on whose grounds several of the film shots were being taken. The motive seems to be many that includes the theft of a priceless idol of BalGopal, an unsolved crime of the past and a hushed up incident that Mr. Majumdar wants to keep to himself in a veil of secrecy. One of the servants, Lokenath also goes missing after the murder and the police suspects him to be the culprit. But soon Jatayu and Topshe stumble upon the servant's deadbody that again gives a complex turn to the mystery and the event also coincides with an attempt on Feluda's life. As the film company laments on the catastrophe that withholds their shooting and also limits their movements, Feluda, Topshe and Jatayu sets on the mission to solve the crimes amidst the picturesque backdrop of Darjeeling that has been so fascinatingly painted in words and sketches by Satyajit Ray. The final chapters are as expected, full of thrill and drama but certain points (that I now seem to observe, going through it after several long years) defies logic and puts question marks on the detection system. First of all though their was a hint of poisoning during the murder that never seemed to be clarified by the police and Feluda too doesn't seem to suggest forensics to clear the doubt. Also the second deadbody was found by sheer coincidence that is too much for an avid mystery reader. Thirdly the identity of a mysterious trespasser remains unsolved. Thus though the writing is freshening and the novel a classic one but as a mystery story this doesn't satisfy all.

Gorosthane Sabdhan!

Feluda returns this year with a hint of nostalgia as the mystery he is about to solve is in the city of joy. Alas, the year is advanced to 2010 and with hi tech gadgets like the mobile and the www, Feluda’s research work seems easier enough. Also at times the Feluda like observations apparently lacks in edge but truly speaking, this seems to be Sandip Ray’s best venture with the trio as the calm and composed Sabysachi apparently strikes the best impression in this adventure. He is accompanied by the new Topshe in Saheb Bhatacharya whose age and looks are by far the best and most noticeably offers the more apt chemistry with Bivu Bhattacharya’s characterization of Lalmohanbabu. But having said these, it must also be mentioned that Bhattacharya is gradually becoming unbearable since appearing as Lalmohanbabu for the fourth time in a row he should have improved more.

This adventure, in search of Perigal Repeater - don’t ask me what it is, as it’s part of the mystery – takes Feluda to the Gorosthan (the Park Street cemetery). Or shall we say that his hunts in the Gorosthan led him to the deep rooted mystery. Yes, the mystery was surely deep rooted as it dates back to eighteenth century when a British named Thomas Godwin settled in Calcutta. With him came the precious Perigal Repeater. Now it seems, evil collectors were after it and it’s up to Feluda to save the day. But most mysteriously it was not the primary motivation. Feluda, on his own, had started investigating the cause of a reported accident in Gorosthan when his instincts drove him to further his searches.

The viewers are next led through a maze of complex characters and a thrilling ride through the Victorian remains of the city. Starting from séances and old chests the mystery spreads its knotty hues among academicians, gamblers, antique collectors and of course the private investigator Pradosh C. Mitter.

Sashanka Palit’s cinematography is excellent as are the shot compositions but if Sandip Ray’s style of story telling may be changed a bit to keep the mystery shrouded till the very end, the excitement could have been much more intense. Produced by Mou Roychoudhury, the team could have been more selective of the casting. While some, specially Tinu Anand blended into his role perfectly but contrastingly that of Subhashish Mukherjee failed to draw appreciation. Dhritiman Chatterjee was good during the start but at the final scenes his overacting was too much for the character. Dwijen Bandyopadhyay in his short appearance provided a wonderful relief that was so absent in Bivu’s entire performance. Infact, after viewing this, my opinion is the next Lalmohanbabu might be selected from Haradhan Bannerjee and Dwijen Bandyopadhyay. But surely one of the best performances come from Sabyasachi who seemed more relaxed in this role and though whispers about him gaining weight seemed going against his Feluda image but his acting reflected the sharp intellect much more than any other previous ventures.

Ebaro Baro

This had been not so favourite of my Ray collections and though I had forgotten much of the storylines but my subconscious self revolted quite surprisingly whenever it came near my hand.
The content runs as

1. Sadhanbabur Sandeha
2. Manpatra
3. Spotlight
4. Dhappa
5. Mackenzie Fruit
6. Anka Sir, Golapibabu Aar Tipu
7. Apadartha
8. First Class Kamra
9. Gagan Chowdhuryr Studio
10. Bahuroopi
11. Ambar Sen Antardhan Rahasya
12. Jehangirer Swarnamudra

The first story is the best portraying the always doubting Sadhanbabu whose behaviour caused many woes on his part. Next is an emotional piece on a long forgotten artist followed by a humorous piece of a mischivous elder. The fourth one has got the classic Ray touch and will be remembered for times by the readers but again the fifth seemed to lose pupose near its completion. The sixth one mixes fantasy with real world all too well and the seventh, though nothing remarkable, still can be considered a good read. The eighth and ninth are again revival of Rays' magic that is both spine chilling and immensely entertaining. Again the mood is held in the same level by the tenth piece though, barring its finish, it seemed a bit lengthy. Feluda, with Topshe and Jatayu enters in the eleventh though it is a bit dissapointing when the mystery is resolved. But the twelfth in the line is the best of the two Feluda stories and mixes the mystery, Jatayu's comic, Topshe aka the reader's confusion all too well.