Tekka

A kidnapping kaleidoscope with situations escalating to crazier heights, the feature film is sure to entertain with a ride, albeit jerky, of thrill and suspense. I would love to have termed the ride gripping had it not been for the intermittent sequences racing to a peak of tension but followed by a quick release that awkwardly cuts through a rather bland consequence. Whatever may be the nature of the pace though, the thrill is sure to be appreciated.

When Iqlakh, the sacked janitor of a corporate house captures a school girl and holds her hostage at gunpoint right inside the building where he was earlier employed, the matter immediately attracts the attention and concern of the police, the corporate house and the mother of the little girl. While demanding that his job be given back, his demand of the owner being present to confirm his appointment irks the authorities. what complicates matter is the fact that the owner of the firm was a prominent political figure! The negotiating ACP thus faces a frighteningly difficult task of convincing Iqlakh of the situation that develops behind. A media team, accidentally present at the very site, leaks footage of the drama that unfolds inside. As Iqlakh shows no intention to compromise, the adamant owner of the firm, Anubrata Adhikari likewise refuses to dance in the tune of the kidnapper by appearing physically as demanded. The situation worsens as the determined mother takes a drastic step. What happens after this is a breezy ride through a maze of strategies, which needs to be seen to be enjoyed that culminates in a revelation that awes.

With a splendid storyline (Bhaskar Chattopadhyay) having multiple twists, the screenplay (Bhaskar Chattopadhyay), however, will disappoint slightly, thanks to the slurry of slangs that mingles a bit too unnecessarily in the dialogues (Srijit Mukherjee) that again gets carried away, at times, while framing perfectly critical yet irritatingly irrelevant messages. Dev Adhikari, however outshines, as is most often the case, I have noticed, when Srijit Mukherjee directs, with a superb display of emotions that fits accurately with the character that he portrays on screen. Loknath Dey is another actor, who is naturally brilliant, but remains completely under utilized in the imperfectly woven script. But considering these shortcomings too, the movie is a genuine entertainer that will be enjoyed by all if the coarseness at places is ignored in the script and the central theme is assimilated maturely.

Darogar Daptar

With a necessary introduction by Arun Mukhopadhyay, the book is apparently the 1^st documented volume of true whodunits blended with fictions.

It starts with the bizarre crime of dead or missing persons returning to the bereaved only to leave them stranded with their belongings looted. This baffling mystery of Jamalaye Ferta Manush was maybe the beginning of investigations documented by Raibahadur Priyonath Mukhopadhyay who was employed in police service. This is followed by a brutal murder mystery where the sheer doggedness of the investigator solves the Advhut Hatya. Then comes the contrastingly comic episode of Chorer Gari Chora where a thief and impersonator is caught with the loot in a chance meeting. Then comes the chase for catching the crooks responsible for both manufacturing and circulating fake coins in Kritrim-Mudra, where once again the severe perseverance of the investigator will be perceived as his months of stalking the offender is rewarded though the ingenuity of the master villain in evading the police multiple times will awe the readers as it did the narrator who only got to know the methods from his catch after putting him behind the bars. Then comes the romantic yet chilling mystery in Kulsam where a murder is solved while another is prevented by the detective with help from a medical practitioner. The readers will be baffled not by the mystery itself of the Asmanee Laash (Bhayankar Lomharshankar Khuner Ghatana!!) than the way it was finally uncovered by another apparently unrelated crime with the intuition of the investigator playing a critical part. The title of Chorer Upar!! (Ekti Adbhut Anusandhan Kahini!) might act as a spoiler but the lengthy prelude is the main deterrent to the central thrill and costs not only the suspense but will be a source of disappointment when it will be revealed that a suspect was still on the loose at the closing of the cases. The following is a remarkable yet brutal anecdote, Sathe Sathe (Kutil Kaushaler Churanta Drishtanta), where it is illustrated to what the desperate can stoop to when frauds fight each other. It also has material for a thriller on screen as well but the same could not be appropriately said for the writing due to its more formal style of compilation that is critical on details but not completely on the suspense. False witnesses, paid informers, bribes find way in the plot. But coincidence makes the credibility rather poor in a particular moment. The following is, however, intellectually satisfying case with a twist starting from its title of Maar Dhan Churi (Dhanee-Putrer Premer Ddae!), which happily misdirects the reader till the evidences are collected and the real culprit is coaxed to the trap with patience that seems a little too much for his ready wit. Hatyarahasya (Khunike Gum Karibar Chesta) is a murder mystery where police is tipped off with the location of  the body, who the murderer is and where the stolen goods might be. But the tips themselves seemed a bit too fishy as evidence seemed lacking. This persuaded the investigator in a mixed goose chase that culminated in a serious confession from the greedy who yielded while being interrogated. Katamunda (Bewaris Maaler Anusandhan!) is, however, about a heinous crime that left a body in a box to be accidentally revealed to the police that sets the investigators searching for clues that seem quite a bit less forthcoming as the case advances. Besides the ingenuity of the sleuth, there are a couple of interesting observations in this narrative – the custom of the particular period and the utter lack of appropriate emotions in this particular literary piece that makes it both horrifying yet boring. The next is a straight case where the criminal Bamun Thakur (Bidyar Abhabe Abidyar Prabhab), is already identified but remained missing and the sleuth, just promoted to the rank of detectives, is given the duty to confirm the apprehension with evidence which he did satisfactorily in a pretty straightforward manhunt. In the process, several of the past crimes of the thief is revealed which establishes his reason of choosing the life of crime. The E Ki! Khun!! (Chirabiddha Streer Sahit Dhrita Swameer Ascharya Rahasya) is truly a classic where the trivial of clues led to the truth in a journey of perseverance. Albeit tragic, but the mystery is indeed peculiar where the accused is ready to plead guilty but the police is not satisfied with the evidence. Another hurdle makes the job even more tricky, the accused will plead guilty but is adamant in revealing a single personal detail. A fast paced narrative, a serious printing error albeit not the only one and an interesting section of the IPC code, all these will keep Bisham Samasya (Hrita Sarbaswya Baranganar Mritadeher Adbhut Rahasya!) a class apart in the intellectually stimulating perspective of a curious death and a theft. Perseverance continues but the tone becomes quite rustic in Balihari Buddhi! (Kono Guptahatyar Gurha Rahasya o Chorer Streer Adbhut Pratyutpannamatitwya) which is a tragic murder made more heartfelt by the insensitiveness of the narrative. In contrast, Abeer-Jaan (Kaminir Kutilchakra Bhed) is a thrilling case with surprise twist to the motive of a police complaint but for a bit too much rigmarole, the narrative loses its grip at quite a few places. However, suspense runs supreme till the very last chapters in the murder investigation of a headless corpse in Girijasundari (Rajdhanir Rajbartme Ramanee-Hatya), which though, has tremendous twists, but the serious printing mistakes, lack of emotions in places and extreme detailing which becomes irritatingly nonessential does injustice to its central theme. A fiction that follows it, is on the other hand, more focused on the plot and makes a kind of trilogy in the sense that Pramada (Kulabadhu Byavichari Ghotae Promad!), like its couple of predecessors is also centred on a woman as the central character. Filled with drama and tension, the crime is gruesomely unique but the excessive use of expletives when the accused is a woman makes it realistic according to its age though bad in its taste. Breathing a relief to the serious crimes, comes the confessions of a fraudster in the field of literatures which will amuse and amaze the readers in the art of multiple scams mastered at that distant past which served as the basis of at least one reform, one screenplay, if not further frauds that played on human psychology as reported in Ba: Granthakar! (Arthat Pustak-Pranetar Adbhut Juachurir Rahasya!). The next title, Jemon Temni! (Arthat, Chatur Palita Putrer Bidya Prakash!!), playing a stark spoiler within the braces, is about a clever theft, which might have been unsolved, if not a chance coincidence that directed towards the partners in crime which saw the landlady with her practically adapted son lying unconscious with the valuable gone from the residence. The author assisted his one time supervisor in solving a crime that was actually a duel between  a shrewd attempt to mislead towards false suspects and the equally ingenious investigating skill of interrogating team. But false clues seemingly play the greatest havoc till then in Niruddesh Bhai (Arthat Uttaradhikari Putrer Bishoy Praptir Ascharya Rahasya?), where a murder charge threatens the accused while a curious turn of events prolong the case. But the sufferer seemed to be punished for his social ill deeds after everything. The title of Arthai Anartha (Arthat halove Biswastys Bandhur Sarbanash!) will act as spoiler while solving the crime. In contrast, in Chatur Chor (Arthat Prachur Paharar Bhitoreo Churi Karar Rahasya!), which is a revelation of what paper trails could achieve, be it during the past or today, the title is but partially justified. The next, Ingrej Dakat (Healy o Warner Namak Duijan Dasyur Adbhut Brityanta!) depicts the chase for a pair of escaped fugituves. Described in detail in two parts the introductory chapter I describes the goons and their crimes while chapter II describes their capture by the valiants. The next Dak Chor (Post - Aafiser dakpatra o money-orderadir haran Rahasya!) narrates a gritty manhunt for a lost peon filled with surprising turns of events and chilling twist. A different type of storyline will be there in S(n)idel Chor (Ekti Prasiddha Musalman Chorer Jiban Kahini), which is actually a biographical version of a thief and tells about his dangerous heists. A chilling murder mystery awaits in Mundachuri (Arthat Ekti Mastakheen Manushyer Ascharya Rahasya!) that revolves around a headless corpse and reveals a surprise tale. What follows is another interesting investigation in E Aabar Ki! (Arthat Armyahatya na Khun?) that tries to ascertain the cause of a death - admittedly a classic case study but for the fact of being biased in stigmatising female, as was the custom of the time, continues to undermine the essence of the literature. Captain Moti (Arthat Note Jaalkareer Adbhut Rahasya) is a straightforward case of trapping the kingpin of a counterfeit note production group, as obvious from the spoiler of a title, but the interesting part is the elaborate plan in tricking the cunning mind that regulated the criminal network, resulting in a carefully organized arrest that left the suspect bewildered while the authorities heaving a sigh of relief. The next is the curiously violent case where with only mutilated parts of body being discovered, the case would have ever prolonged if not for a coincidence of another crime that provided the much needed clue the was crucial in revealing the grotesque truth behind Stree Ki Purush? (Arthat Stree o Purush Chinhabishishta Laasher Tukrar Bhayanak Ascharya Rahasya!). Then comes the saga of misfortune that led to the condemnation of the accused in Ghatana-Chakra (Arthat Dwipantareeta Koedeer Adbhut Atmyatyag Kahinee). A vicious plot of kidnapping, murder, inheritance unfolds in Balak Churi (Balak Churir o Bhayankar Hatyakander Atadbhut Rahasya!), which takes the readers through a trail of sinister twists. A compilation of slightly different type of instances constitutes the humour laced Chorer Buddhi (Arthat Charitraheener Tikhnabuddhir Drishtanta Rahasya!), where the intelligence of several shrewd criminals are appreciated whose acts led to apparently trivial to serious consequences. The Neele Koela (Arthat Juachorer Adbhut Sahas) recapitulates how the Indian employee in the British police force unravels a carefully laid plan in duping the authorities in a trade that claimed the lives and tormented the souls of a great many of the Indian farming family. Then comes a curiously unnerving crime, related to a case of properties in Pitri-Shraddha ("Kaar Shraddha Ke Ba Kore, Khola Kete Bamon More!"), which will raise a chill up the spines at the sheer audacity of the criminals. It is followed by a very interesting case that leads E Ki Pitri-Hatya? (Arthat Pitri-Hatyaparadhe Abhijukta Putrer Adbhut Rahasya) to a very unprecedented completion. The Bekub Bajnyanik (Arthat Baijnyaniker Chokshute Ajnyaloker Dhuliniksheper Adbhut Rahasya!) starts although with retelling of a crime in a surprisingly light note but the revelation impresses the severity that baffled the forensics of the particular regime. The following highlights the shrewdness of the ordinary police that corrupts a serious case in Police-Buddhi (Arthat Samanya Police Karmacharir Buddhibale Session Jojer Rae Paribartaner Ascharya Rahasya!) while indicating yet acknowledging the audacious foresight of the wickedly clever! Tragedy unfolds in Chakrabhed (Arthat Kutil Chakreediger Mantrabhede Asamartha Hoileo Ghatanachakre Samasta Prakasher Rahasya!) with the good being misled in a wild goose chase by the cruel! The next is again a two-part chase that tries to catch the murderer of Pathe Khoon! (Arthat Rajbartme Gareer Bhitor Hatya o Tathatyakaree Dhrita Karibar Adbhut Koushal!], where the victim was killed but the murderer escaped, unnoticed, from a moving vehicle! The introductory chapter I is all about police procedural while the climactic chapter II begins with a courtroom summary that turns the conviction but completes the case with a surprise twist to serve as the necessary eye-opener that ensures justice, albeit indirectly! A refreshing set of lesser crimes awaits as we sift through Juachurii (Arthat Juachordiger Atyascharya Avedya Katipae Karya-Koushal!), revealing the funny tricks of several treacherous fraudsters! Humour continues in Paloani Churi (Athaba Jemon Chor, Temni Police!], which nareates a theft in its comical shades. But tragedy returns in Hindu Ramanee (Arthat Aamader Pratyakshibhuta Ekti Sateer Ascharya Swameebhakti!), which narrates a murder mystery with a very unpredictable twist. Tragedy continues, but in a chilling form in Raile Jom (Arthat Railway Yatrir Mahadurghatanar Ek Lomharshhankar Drishhtanta!) that unravels with patience the mystery surrounding a murder, left inconclusive for months at a stretch. However, the regular monotone of chararacteristic descriptive style of narrative is happily broken by using more than a handful of dialogues instead of elaborate details. The following entry puts to record the trail to apprehend Dakat Sardar (Arthat Prasiddha Dasyu Dalapati Krishna Chandra Choudhuryr Bibhatsa Kahinee), one of the infamous dacoits of yesteryear, imprisoned but released after his term completed. Investigating on being informed of crimes with identical signatures of the earlier escapades, the chase reveals yet another trait of the sleuth, that of his remarkable ability to accurately disguise himself as required for trapping his target. The following reveals the critically observant detective, who solves a case of theft in Ki Bhayanak! (Arthat S(n)id-Churi Mokaddamar Anusandhane Adbhut Bhayabaha Rahasya Prakash) by casing the crime scene flawlessly. Case of thefts becomes increasingly curious while investigating Chor Choughurite [Arthat Bhadra (!) Chorer Sahoske Balihari!), whose peculiarity lies not only on the modus operandi of the crime but also on the identity of the perpetrator. The volume tersely completes with Kripaner Danda (Arthat Arther Nimitta Kripaner Je Kirup Parinam Hotw Pare atahar Adbhut Drishtanta!), which is essentially a case of murder that centres a hidden chest of treasure, where the labours of the sleuths might feel to be not very conscientiously rewarded.

Albeit a bit lengthy in some with unnecessary detailing at places, the use of formal lamguage throughout may add to the deterrence in rapid reading, but the narratives are reminiscent of the old days where caste prevailed supreme as obvious from the insignificant notes penned by the author that bears significance in the modern days. Added to it, is the naive pride of personal charisma, giving undue stress on trivial matters that, at times, feels more than redundant. The judgemental attitude towards women in general is characteristic of the age which makes the sentiments sometimes arrogantly cheap and masculine. However, contrast to this personal pride, the chapters with biographical anecdotes of certain haplessly disgraced relieves the monotone of the case files with a different kind of simpler perspective. But the best part is the documentation of some original crimes that may serve as a handbook of sorts to those interested.

প্রশ্নটা (অ)সভ্যতার!

অসভ্য থেকে সভ্য হতে মানুষের কত বছর লেগেছিল?

সাতসকালে পচাদার চায়ের দোকানের সামনে ঝানুজ্যেঠুর মুখে এরকম একটা দার্শনিক প্রশ্ন শুনে ভ্যাবলা চমকে উঠলেও, পচা কিন্তু সাথে সাথে উত্তর দিল, "এখনও হইনি তো!"

"For once, you are correct পচা," ঝানুজ্যেঠু কিন্তু বেশ গম্ভীরভাবেই পচার কথায় সায় দিল, "এক্কেবারে ঠিক কথাটা বললি তুই!"

ভ্যাবলা পচাদার কথায় হো হো করে হেসে উঠতে গিয়েও জ্যেঠুর এরকম গম্ভীর মন্তব্যে যারপরনাই অবাক হয়ে গেল।

"কি বলছ কি গো পচাদা? আমরা সভ্য নই?"

পচার অবশ্য যুক্তি ছিল কথাটা বলার। ওর মনে পড়েছিল যে ডার্বির দিন যখন দুই প্রধান এক হয়ে তিলোত্তমার বিচারের জন্য গলা ফাটাচ্ছিল, ভ্যাবলাদাও উত্তেজনার চোটে ঝানুজ্যেঠুকে কোলে তুলতে গিয়েছিল। তখন জ্যেঠু ধমক দিয়ে বলেছিল, "এই বাঁদর, কি অসভ্যতা করছিস! নামা শিগগির!" তাই পচার মনে হয়েছিল যে ভ্যাবলাদা যদি কলেজে পড়ে অসভ্য হতে পারে, তো মানবসভ্যতারও অসভ্য হওয়া আটকাচ্ছে কে?

কিন্তু কি আশ্চর্য! এখন তার এই যুক্তিটাই বোঝাতে যেতে জ্যেঠু এবার তাকেই কিরকম বেদম বকে দিলো!

"উফফ পচা! ক্ষণিকের জন্য মনে হয়েছিল বটে যে তোর মাথাটায় বুদ্ধি বাড়ছে, কিন্তু না, ওটার দশা যেই কে সেই!"

-"খামোখা বকছ কেন? তুমিই তো বললে যে আমি ঠিক, আমরা এখনো সভ্য হইনি! তার মানে কি ভ্যাবলাদা ছাড়া বাকিরা সভ্য?" পচা এবার নিজের ভুলটা বোঝার চেষ্টা করে।

-"আবার কি", তড়িঘড়ি কথাটা বলে পরক্ষণেই আবার জিভ কেটে ভ্যাবলা বলে, "মানে, আমিও সভ্য গো, ও তো জ্যেঠু আদর করে বলেছে! এই দেখো না, আমি সভ্য, তোমরা সভ্য। গোটা দুনিয়া সভ্য। সভ্যতা কি আর আজকের কথা গো পচাদা, সেই চার হাজার বছর আগে মেসোপটেমিয়া থেকে শুরু....", আবেগে ভ্যাবলার গলা বুজেই যেত হয়তো যদি না জ্যেঠু মাঝপথে একটা পিলে চমকানো গর্জন দিতো

-"হ্যাং ইয়োর মেসোপটেমিয়া, আমরা নিতান্তই অসভ্য!" জ্যেঠুর হুঙ্কারটা পুরো জজসাহেবের হাতুড়িমার্কা হুকুমের মতো শোনালো। বকরবকর না করে সোজা সিলমোহর লাগিয়ে দিলো যেন নিজের সিদ্ধান্তে।

"কি বলছো কি গো জ্যেঠু? আমরা অসভ্য? এটা একটা কথা হলো?" ভ্যাবলা কিছুতেই মানতে পারে না জ্যেঠুর মন্তব্য।

"অফকোর্স অসভ্য", জ্যেঠু এবার বলতে শুরু করে, "অসভ্য না হলে কি তিলোত্তমার উপর হওয়া অমানবিকতার বিচার পেতে মাসখানেকেরও বেশি সময় দরকার পড়ে?"

"আচ্ছা আচ্ছা, তুমি আর জি করের প্রসঙ্গে বলছ?" ভ্যাবলা এবার আস্তে আস্তে জ্যেঠুর রাগের কারনটা ধরতে পারে, "কিন্তু তার আর কি করা যাবে বলো! ইন্ভেস্টিগেশনটা আগে ঠিক করে করতে হবে তো!"

"ইন্ভেস্টিগেশন? কি করে করবে শুনি ইন্ভেস্টিগেশন? সব তথ্য প্রমাণ তো লোপাট করে দিয়েছে গুণ্ডার দল!" ঝানুজ্যেঠু আজ পুরো ক্ষেপে ব্যোম!

"তাই?" পচা জানতে চায়, "সমস্তটাই নষ্ট? কিছুই কি পাওয়া যাবে না?"

"কি করে যাবে শুনি? একটা মৃতদেহ পাওয়া গেল! হুড়োহুড়ি করে তার ময়না তদন্ত হলো, ঘরটাকে সিল করলো না ঠিক করে, পরদিন দিল ঘরটাকেই ভেঙে! কি, না রেনোভেশন হবে! আর পুরোটাই হলো প্রশাসনের নাকের ডগার উপর দিয়ে! কি শয়তানি! কি শয়তানি!" ঝানুজ্যেঠু আজ তেড়িয়া হয়ে বলে চলে, "তদন্তকারীরা তো আর ভগবান নয় যে হাওয়া থেকে সূত্র বার করবে!"

"ঠিক বলেছো গো," পচা সায় দেয়, "মেয়েটার দেহটাও যদি থাকত! তাও দিল হুড়মুড় করে পুড়িয়ে! বজ্জাতগুলো বেচারির বাপমাকে ঠিক করে শোকটাও করতে দিলো না!"

"শোক করতে দেবে?" ঝানুজ্যেঠু সমাজকে আর এক রাউণ্ড ধমকে দিল, "তাহলেই হয়েছে! যে সমাজে অস্বাভাবিক মৃত্যুকে প্রথমেই আত্মহত্যা বলে চালিয়ে দেওয়ার চেষ্টা হয়, যে সমাজে অস্বাভাবিক মৃত্যুর এফআইআর দায়ের করতে প্রায় বারো ঘণ্টা লেগে যায়, সেখানে মেয়েটির দেহ যে গুম হয়নি, তাই আমার চৌদ্দ পুরুষের ভাগ্য রে!"

"আরে গুম করা কি মুখের কথা?" ভ্যাবলা বলে, "একটা সরকারি হাসপাতালে তো লোক গিজগিজ করে সারাক্ষণ, গুমটা করবে কি করে?"

"কথাটা অবশ্য খুব একটা ভুল বলিস নি তুই," জ্যেঠু সায় দিয়েও একটু বাঁকা হাসি হাসে, "কিন্তু বল দেখি, একটা লোক গিজগিজ করা জায়গায় একটা বীভৎস খুন হয়ে গেল, আর কেউ জানতেও পারলো না?"

"তাই তো! এটা তো আগে ভেবে দেখিনি!" ভ্যাবলা মাথাটা একটু চুলকে নেয়, "সত্যি তো, কিছু তো একটা গণ্ডগোল আছে! এরকম পাশবিক কাণ্ড...."

"পাশবিক?" জ্যেঠু কথাটা শেষ করতে দেয় না, "কি বলছিস রে ভ্যাবলা? পশুরাও এত নির্দয় হয় না! এটা তো এক পৈশাচিক কাণ্ড! তিলোত্তমা কি দোষ করেছিল বল? সে তো চেয়েছিল সমাজের সেবামূলক কাজে নিজেকে ব্রতী করতে! কিন্তু দেখ, তার বদলে সে কি পেল? কিছু অমানুষের হাতে নিজের প্রাণটাকে নারকীয় যন্ত্রণার মধ্যে দিয়ে খোয়ালো! উফফ, তার শেষটা কি ভীষন কেটেছিল ভাব! আর তারপর তো শুরু হলো তার মৃত্যুর কারনটাকে ধামাচাপা দেওয়ার এক অসভ্য প্রচেষ্টা!"

"ঠিক বলেছো গো," পচা বলে, "একটা ডাক্তার হয়ে সুরক্ষা পেলো না গো মেয়েটা, আর আমরা সাধারণরা কি পাব?"

"কেন পুলিশ আছে তো!" ভ্যাবলা বলে, "পুলিশ দেবে সুরক্ষা!"

"তাই নাকি? কি জানি বাবা!" পচা বলে, "তাহলে তো তোমাদের প্রথম রাত দখলের শুরুর সাথে সাথেই যে শুনলাম কিছু গুণ্ডার দল আর জি করে তাণ্ডব চালালো, তখন কি তোমার পুলিশ ঠিকঠাক সুরক্ষা দিতে পেরেছিল? তারা তো দিব্যি ভাঙচুর করে এলো!"

"কি করে করবে বল?" পাশ থেকে জ্যেঠুও গলায় স্পষ্ট বিদ্রুপের সুর ফুটিয়ে বলে, "হয় পারমিশন ছিন না, নয়তো যথেষ্ট লোকবল ছিলো না!"

"লোকবলটাই কারন বোধহয়....." ভ্যাবলা বলে, 'দেখলে না ডার্বিটাই এবার বন্ধ করে দিলো যথেষ্ট সিকিউরিটি ছিল না বলে!"

"দেখলাম তো!" জ্যেঠুর গলায় আবার তীব্র শ্লেষ, "তারপর তো দুই প্রধানের শান্তিপূর্ণ আন্দোলন আটকাতে পুলিশের ঢল দেখে অবাকও হলাম! ভাব দেখি ভ্যাবলা, এতো পুলিশ রাতারাতি এলো কি করে? আর যদি এলোই বা, তবে ডার্বিটা হতে কি দোষ করেছিল? ডার্বির সিকিউরিটি দিতে কি এর থেকেও বেশি পুলিশ লাগত?"

"তা অবশ্য ঠিক! এত পুলিশ বোধহয় লাগত না ডার্বি করাতে!" মাথাটা আরো একবার চুলকে ভ্যাবলা ব্যাপারটা ধরতে পেরে স্বীকার করে। তারপর অবশ্য বলে, "কিন্তু সি বি আই তো আছে, আর সুপ্রিম কোর্ট?"

"ঠিক, সি বি আই এখন একমাত্র ভরসা!" জ্যেঠু সায় দেয়, "কোর্টের উপরও আশা রাখতে হবে আমাদের! নয়তো সাধারন মানুষ যাবে কোথায়?"

"কিন্তু ওদের তো শুনছি কি এক বিটকেল উকিল আছে!" পচা সাথে সাথে আশঙ্কা জানায়, "কপিল না বল না কি একটা নাম, কি কায়দা করে তিলোত্তমার বিচারটার পাশ কাটিয়ে জুনিয়র ডাক্তারের আন্দোলনের দিকে পুরো আলোচনার মোড়টা ঘুরিয়ে দিলো!"

"আরে ছোঃ!" ঝানুজ্যেঠু ধিক্কার দেয়, "কপিল সিব্বলের কথা বলছিস তো? কপিল ছিল বটে একটা আমাদের সময়কার, কপিল দেব নিখঞ্জ! বোলার! দেশের মুখ উজ্জ্বল করেছিল বিশ্বকাপটা এনে দিয়ে! এই যে কপিলের কথা বললি, নামে বল থাকলেও লোকটা একের নম্বরের ধড়িবাজ! কার যে মুখ উজ্জ্বল করতে চাইছে কে জানে? তবে চিন্তা করিস না খুব একটা! আমাদের দিকেও যিনি আছেন, তাঁর নামের মধ্যে জয় ও সিংহ দুইই আছে, দেখি মা সিংহবাহিনীর কি ইচ্ছা, হয়তো এই সিংহের হাতেই জয় আসবে! আসলে কি জানিস, যত দিন যাবে, তত বজ্জাতগুলোর মধ্যে ভয় কমবে! আমাদের দেশে তো চরম শাস্তি বলতে ফাঁসি বা যাবজ্জীবন....."

"আমার তো ইচ্ছে করে দিই কেটলির গরম জলে চুবিয়ে ব্যাটাগুলোকে!" পচা মুখটুখ পাকিয়ে স্বগতোক্তি করে!

জ্যেঠু অবশ্য খেয়াল না করে বলেই চলে গম্ভীরভাবে, "..... তাই দৃষ্টান্তমূলক কিছু করতে চাইলে, তার একমাত্র উপায় তাড়াতাড়ি সঠিক বিচার! দেরি করলে তো দোষীরাও তাদের চাল দেওয়ার ময়কা পাবে আর বাইরে যে দুষ্কৃতীরা ঘুরে বেড়াচ্ছে, তাদের মনে দোষ করলে শাস্তি পাওয়ার ভয়টা কমবে! সমাজবিরোধীরা আরো মাথাচাড়া দেবে আর আমরা সাধারন মানুষের দল থরহরি কম্পমান হয়ে থাকব! তাই তো তোদের জিজ্ঞেস করলাম, আমরা কি সত্যিই সভ্য হতে পারলাম?"

জ্যেঠুর কথায় কি ছিল কে জানে, পচা আত্মবিশ্বাসের সাথে বলে উঠল, "পারবো গো পারবো, দেবীপক্ষ আসছে, দেবীর কাছে চলো তিলোত্তমার জন্য ন্যায়বিচারের প্রার্থনা করি! আমরা ন্যায়বিচার দাবী করি সমাজের কাছে! দেবী আমাদের কথা ঠিক শুনবেন দেখো! বিচার আমরা ঠিক পাবোই পাবো। দুগ্গা দুগ্গা!"

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.

What is Mathematics?

Introducing the requirement of mathematical philosophy in every day needs of the physical reality, the book delves into the concepts of the subject in a more logical approach. The chapters might be better appreciated if the initial note of their organization and preliminary requirement are followed as specified. The Chapter I The Natural Numbers deals with the laws of arithmetic and the principle of mathematical induction with quite a few applications, some being left for the reader to solve making the chapters more challenging yet no less gripping. Continuing in its Supplement to Chapter I The Theory of Numbers, the primes are taken up in a more abstract sense and humbling the original chapter both in volume and concept, some unsolved problems are referred as are discussed modulo arithmetic, the concept of congruence, theorem of relative primes as an extension to the theorem of prime by Fermat, the development of Pythagorean triple and the elegance of their primitive forms. Utilisation of Euclidean Algorithm for searching of common factors between integers, the concept was used more than once not only for finding the highest factor that divides set of integers, but also referring to that in detailing Euler function of relative primes and culminating in analysing Diophantine equations with pointers to their solvabilities. The Chapter II Number System of Mathematics dwells in denumerability of numbers, algebra, graphic representation of numbers by analytical geometry, complex plane and transcends to Liouville's theorem. This fascnitating chapter stresses the psychological need of mathematical evolution while acknowledging the hesitant steps that apparently is the barrier of quantifying abstract thinking. It is followed up with Supplement to Chapter II The Algebra of Sets that lays the foundation for set theory, which was touched up on the previous chapter. Mathematical tool for engineers seems to be the best way to describe Chapter III Geometrical Constructions: The Algebra of Number Fields, where the number fields and constructions are introduced to appreciate the fundamentals of geometrical constructions. The problem of Appolonius is stated with its proofs by different perspective, the unsolvability of various Greek problems within their domain of constraints are logically demonstrated, inversion with applications to various problems are elaborated. However, the most interesting part of the chapter seems to be Mascheroni Construction which required me to consult http://mathafou.free.fr/themes_en/compas.html to solve a proposed exercise. The prefaces by the authors with their subsequent revision by Richar Courant and Ian Stewart indicates that some chapters were later appended as logic was refined as it branched. The toughest is Chapter IV Projective Geometry. Axiomatic and Non-Eucildean Geometries that required visits to stackexchange.com, files.eric.ed.gov, nabla.hr, amsi.org.au to understand how to approach certain problems suggested. The chapter will give a brand new insight to geometry itself. The apparently less complicated Chapter V Topology is about a different geometrical aspect that deliberates on Euler characteristics of general surfaces including that with holes as well as special surfaces like Moebius strip with its unique features. Not only does the chapter contains geometrical revelation like that for the Jordan curve but also how the fundamental theorem of algebra has a topological perspective is given as the caveat. Chapter VI Functions and Limits are a revelation on the topics. The topics have been presented with the abstract elegance that several never think of while utilizing the concepts for solving mathematical intricacies. As the name Supplement to Chapter VI More Examples on Limits and Continuity obviously suggests, this helps in elaborating the preceding concepts with several examples and exercises for the readers that reveal their beauty and give them the touch of the classic. The next Chapter VII Maxima and Minima delves into the geometrical treatment of the extremum problems with illustrations of some natural phenomenon that corroborates the models with the physical laws. But its superbly beautiful aspect lies in the investigations of the existence of extremums that are quite sometimes taken for granted, which accurately portrays the Dirichlet conditions with quite a few interesting ideas. Academic twist awaits while going through Chapter VIII The Calculus that begins with integral calculus, generally reserved for the stage, following the understanding of differential calculus in conventional approaches to study this particular branch of mathematical creativity. Utilizing the basic summation method of computing definite integrals, the specific subject is elaborated with several revealing observations and inequalities. Then comes the derivative and how Fermat stimulated its necessity for obtaining extrema of functions. The derivative is formulated, analysed and symbolised. Lucid illustrations and challenges follow to compute derivatives of several algebraic expressions. Then comes the treatment for a few of the trigonometric observations. The requirement of continuity of functions for differentiability is elaborated. Applications start with derivatives applied in deriving acceleration and instantaneous velocity for moving bodies, the geometrical interpretation of 2^nd derivative, evaluation of minima and maxima among others. Then comes the techniques of differentiation and some of their very interesting applications. The notation that was used by Leibniz for differentiation represented a radical mathematical thinking, though the actual notion was only, at best, vaguely understood at the time by the thinkers in the field. With a logical note that justifies why great minds would proverbially arrive at similar results, the fundamental theorem of calculus is evaluated. The mechanical algorithm for the usual process of integration is justified and applications provided. The 1^st being Leibniz' formula for obtaining ℼ/4, followed by logarithm and exponential, with logarithm suprisingly yet logically preceding. The properties of the base of the natural logarithm are detailed and utilized followed by infinite series for logarithm. The concept of differential equations follows with applications in principles of physics, growth, vibrations and compound interest. The Supplement to Chapter VIII starts with basic principles of differentiability, integrals with its varied applications and continues with orders of magnitude, infinite series, the interesting advantage of the complex variable for their applications regarding seemingly unrelated domains, the harmonic series, the zeta function and the sine series by Euler, a beautiful discovery in the subject and the logical yet a bit approximate introduction to the prime number theorem. The prime numbers are the start to Chapter IX Recent Developments, which is a fascinating rambling on the more modern developments in this beautiful subject. Beginning with several elusive problems of prime viz., the Goldbach Conjecture and the Twin Prime Problem, the book stresses the need of novel methods for their decisive directions, which is followed up by the famous Last Theorem of Fermat that started as the unsolved mystery when the book was initially published but was demystified in 1994 and thus was inserted in fresh editions. Then, there is a discussion on Continuum Hypothesis, which may puzzle the intellectual greatly, the fashion of Set-theoretic notations through the ages, the tricky Four Colour Theorem, the proof of which literally challenged mathematical practices. The fractals with the apparently bizarre Hausdorf dimensions follow that will stretch the brain deeper towards abstract realms. The links and knots come next and then comes another abstract analysis of a mistake in a previous chapter, now logically rectified, concerning a tricky problem of mechanics having seriously simpler mathematical consequences. Then the algorithmic efficiency of computation is discussed with reference to the Problem of Steiner to search for the smallest length to bridge a network of points. The related intricacies brewed by Soap Films and Minimal Surfaces are briefed as we reach the concluding Nonstandard Analysis that immensely satisfies the wits of the readers. The book ultimately converges with Apppendix: Supplementary Remarks, Problems, And Exercises, a tutorial of varied problems to entertain and challenge with help from sites like math.stackexchange the wits of the readers ready to tackle problems on the field of arithmetic, topology, calculus, limits, geometry, algebra, functions, analytical techniques that completes this enthralling treatment.