Colonel Samagra Vol III

Again we encounter Colonel Niladri Sarkar in a series of mysteries but the quality of detective novel deteroriates in this volume. The best novel seems to be Nishuti Raater Daak but its humane part is more touching than the detection part. Infact, Colonel's realization of himself growing old seem at places justified and although he ultimately solves the mystery but the parallel story of an entirely different nature suppresses the mystery content. Also, as unlike most the Colonel stories, this is not narrated by Jayanta and infact he is not involved here at all. Dakinitantra started on a promising note, and Jayanta's narrative refreshed the reading, but again it was just an ordinary piece when it ended. In Mafia Rahasya, though Jayanta is involved but it is again narrated passively and also the story is made more complex with added events. Nababi Mohor seems a better story in this chain and when the villain is unmasked the readers are bound to be astonished. Both Hirer Necklace and Kaalo Suto unveils a complicated mode of crime for its end result and though the later could have been more intense as the adventurous duo later exclaims the former seems unduly complicated just for the sake of making it a longer story. Some personal insight into the Colonel's life is the only contribution of the author and the reader will know why the Colonel mysteries mostly revel in murder rather than just theft and smuggling.

Hemendrakumar Roy Rachanabali Vol – III

The book starts with an adventure Tsarinar Kanthahar and though at the start it seems only Bimal-Kumar are involved but as the trail of the villain becomes more and more complex Jayanta-Manik also appears in the picture. The best thing about Hemen Roy is that he could devise plots and that too adventurous ones in the heart of Calcutta and there lies his ingenuity in the realms if imagination as while normal authors will think adventure in the deceptive crevices, in the dark seabeds and elsewhere, Hemen Roy on the other hand explores the intricacies of the city's by lanes and creates adventure there only. True, the quality of the adventure may not seem too appealing in today's perspective but then it must be remembered that at his time, much of Calcutta had not been turned to 'caves of steel', if I may indulge using the word from Asimov's novel of the same name. Also the villain in this novel plots novel traps and how the quad with Sundarbabu tackles these are sure to keep you interested in the story. An annexe story Ek-Ratrer Bibhishika is a classic short story of its genre and is gripping in its span of only a few pages. I don't know why this is not indexed and also quite confused as to its inclusion as an extension of the the previous novel.

The next feature Sahityik Saratchandra, is as the name implies, about a brief biography of the literary genius of Saratchandra Chattopadhyay. Here, the author starts with a brief history of the Bankim and Rabindra era of Bengali literature and then goes straight to the childhood days of Sarat right from his birth on 1876 and dwells on his early introduction to literature. His love for adventure and dissatisfaction in the disciplined school life both fuelled his passion for literature and several characters with whom he grew up, his sisters, his friend 'Raju', all had found places in his creations, infact these were his tributes to the personalities and places that he were fond of and his literary genius moulded these as central characters in novels like 'Baradidi', 'Srikanta', 'Pather Dabi'. Hemen Roy writes in his own fascinating way the misery that once shadowed the literary life of Saratchandra during his stay at Rangoon and his re-entry in the pages of the magazine Jamuna and following up with his emergence in the more popular Bharatbarsha. The author's research is extensive and his style of writing so enjoyable that it never feels boring while reading this biography. That Saratchandra was a shy speaker but an excellent singer, a revered individual but someone who could mingle easily with the common men - these facts are illustratively described in the article. Finally Hemen Roy went on to a brief discussion on the dramatization of Saratchandra's plays which though encouraged him to attempt at playwriting but those never saw a bolder realization, so unlike of his penmanship as novelist. The discussion also included picturization of several of his novels and how these were successful in the theatres. The person Saratchandra has also been fondly remembered as the author writes of his personal traits, his addictions and his love of beings, both human and animal. Saratchandra's nature was also no less appealing than his novels. This was more apparent when, following his rise to fame and wealth, he still continued his normal lifestyle and invited people, both common and extra-ordinary, in the same way. The great Saratchandra was 9indeed great for these traits. As an addendum, Hemen Roy has included another chapter where he has started with a personal anecdotes centering his first meeting with Saratchandra. Then onwards he has included some refreshing humorous moments shared in the presence of Saratchandra, Saratpandit, Rabindranath and several others. The refreshing way that the article ends again proves the correctness of Premendra Mitra's comments in the introduction of the volume that Hemendrakumar was unique in his writing and this identified him in the crowd of host of other writers of the time.

The story that follows up is Jayanta-Manik's treasure hunt with Sundarbabu in Sonar Anaras where they starts off to solve a riddle directing to some treasure trove secured by centuries of secrecy. Though it is supposed to be a mystery story but adventure predominates and only a touch of the bizarre is added to thrill of the hunt. The villain is identified at the beginning but the treasure is uncovered at the end. Also the rest of the people excepting Jayanta-Manik, Bhushopagla and the evil genius had been portrayed so dumb that the story loses the touch of reality throughout. Thus what remains to be enjoyed is the adventure and the trail of the treasure only!

The next chapters categorized as Bhuter Raja is reserved for short ghost stories and some of them are sure to give creeps. Here the author had followed a new style in quite a few stories. Generally short horror stories have a single climax at the final pages. But in some of the stories when it seems that the climax has passed, turning over the pages it is found that the story is far from its completion and a second climax awaits that intensifies the suspense in a markedly unique way.

Egaro

http://calcuttatube.com/egaro-2011-bengali-movie-user-review/139584/

Colonel Samagra Vol II

The volume starts with Patal Khandyok when Colonel Niladri Sarkar is requested to find the truth behind the death of a young man reportedly killed by a pet leopard in Kanjola district. As the aged sleuth starts investigating the case digs up sinful past and deadbodies but the Colonel had to wait for the ultimate solution as the puzzling events are ultimately solved, not by the detective, but in the note of a criminal. Sundar Bibhishika involves Jayanta in a grim position with a deadbody and though the climax is good but the plot seemed to be unrealistically complicated. Macbether Daini is a nice relief after the not-so-good first two and ends with a final twist that leaves the reader in awe at the solution so peculiar but convincing. Swarger Bahan starts with an inkling of excitement as it speaks of graveyards and an yester year murder of relative to the royal lineage of Jahanabad but the excitement dies away soon but interest remains till the final chapters. The next Bigraha Rahasya starts with a hallucinating elder, a strange mystery and a gentle pace but quickly paces up from the middle onwards. Danielkuthir Hatyarahasya is on the other hand a straight forward case and the interesting point in this story is the style of narration which, in the absence of Jayanta throughout, is narrated by one of the individuals in the case for the first half and from a third person's perspective in the later chapters. The final, Kakcharitra is probably the most praiseworthy which, though seemed a bit quick near the end, but the ingenuity of the author is felt at the smartly crafted episodes.

The Red Thumb Mark

I’d read about Dr. Thorndyke in one of the Bengali translations - most probably by Hemendra Kumar Roy, at an very early age, but had remembered the distinct class of the style which was a kind of reverse detection and Richard Austin Freeman, the creator seemed to have pioneered it. Though I love mystery stories of the straight type but as I aged, this had still lingered in my memories as was evident when I came across one of his collections from the cyber world. Soon after this, I also found this novel. I’m glad that this was a type of straight detective novels where the perpetrator of crime was unveiled at the very last. Slightly monotonous at places but gradually racing to its climax, the criminal was obvious from the middle. Infact it was so obvious that I started to doubt the innocent persons as to be the evils. But having said that it must also be said that this obviousness to the villain does not, in any way, diminish the beauty of the story as the technique of the crime, when explained, as well as certain other technical aspects gives much food for thought and the mystery evolves not in the actual crime but the way it was committed. Finally, it must also be said that the old Victorian touch to the story offers a relief from the current mystery stories that are more adventurous than brainstorming.

Chitra Sen: Interview

http://calcuttatube.com/chitra-sen-bengali-theatre-and-acting-exclusive-interview/138182/

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.

Sakharam Binder

http://calcuttatube.com/sakharam-binder-hindi-play-at-27th-nandikar-theater-festival/135726/

Kanyadan

http://calcuttatube.com/kanyadan-bengali-drama-review/135337/

Raja Ebong Onnanyo

http://calcuttatube.com/raja-ebong-onnanyo%E2%80%93bengali-play-on-nandikar-27th-festival-2nd-day/135342/

Jabar Khabar

Preface to My First Documented Nonsense Composition It all started with a modest request from my little sis-in-law, an excellent elocutionist that I've come across. On one of the innumerable functions that she had been invited in this small age, she wanted to recite something other than the regular serious poems. Gradually as her request turned to more than an affectionate insistence I saw no way but to jot down the first things that came to my mind based on her hint that the subject should be in the form of a comic news reportage!

Amitakshar

http://calcuttatube.com/amitakshar-2010-bengali-drama-review/126503/

Omerta

Omerta - the code of silence and of honour among the Sicilian Mafia seems to rule at large when the retiring Don Raymonde Aprile is shot in the USA. The FBI and the police department seems clueless about the murder but the motive seems not so difficult to guess. It was the Aprile banks that seemed to be the aim of the perpetrators. Aprile's foster son, Astorre Viola, to protect the Aprile family and banks, silently took charge of the situation and started vengeance in the traditional Mafia style. It took him across the deceptive path of politics and the corruption in the security departments and in the process some hideous truth came to fore. But silence reigned supreme as Astorre Viola, keeping a low profile, struck blow after blow to the heart of the enemies. But secrets from his past could not be hidden and soon he was to know his heritage. Whom to believe and whom to not, seemed a tricky decision and can he meet the ferocity of the rivals seemed to haunt his near ones. Deception and corruption went hand in hand as Omerta prevailed everywhere as the murders piled up.
The book is written in the old style of the Godfather but lost its touch when it came to the climactic ending which seemed a snippet from a Hollywood action piece. When I'd read it years before it seemed fantastic, but when I again went through this time the magic was lost. Godfather will always be a legendary piece whereas this is good but could have been better.