Thanks to Dan Brown, Amish and Ashwin Sanghi, there is a growing number of novels being written in the historical fiction/mythological thriller genre, much to the delight of readers like us. Indian mythology and history is a treasure trove for authors to weave gripping tales combining the myths of the past with the thrills of the present. ‘Let The Game Begin’ by Sandeep Sharma surely doesn’t disappoint.
The story covers a span of 4000 years and hinges on the arch rivalry of two mythical kingdoms Sarprakt and Chaturanga. The two kingdoms are separated by a mystic mountain range Lambasa Parvat. In a turn of events, and amid a shocking conspiracy, King Viratha of Chaturanga loses his son and heir to the kingdom Devrat. A curse befalls the whole kingdom, which has ramifications in the future.
Thousands of years later, in present day India, several serial killings shock the nation. The only clues that are chess pieces and a strange message in an ancient script which says ‘let the game begin’. As the police struggles with solving the mystery, CLAW, an intel group that reports to the PM takes over the case because of threat to national security. What unfolds is an enthralling tale of revenge, conspiracy, deceit and treachery.
For any thriller the narration is the key element that keeps the reader’s interest intact in the plot. Sandeep Sharma does a good job with constant twists in the plot. The narrative swings between the past and the present – a standard in most mythical thrillers – and slowly the conspiracy unfolds. That constant nagging feeling of ‘what happens next’ and ‘so why did this thing happen earlier’ keeps you pacing towards the climax. The characterisation has been given due thought as well.
Although the language is lucid and flowing, the author must check for grammatical and typographical errors in the future editions of the book. I am surely looking forward to reading the sequel.
P.S. I received a review copy of the book from the author.
DISCLAIMER: All Images Used In This Book Have Their Respective Copyrights
The month of September has been a treat Indian cine-goers with meaningful films like Island City, Pink (and now Parched) adding to the delight in the midst of all the balderdash.
Last week’s release, Pink was a strong statement against the deep-rooted misogyny in our society. With his very crafty use of subtlety and brutal realism, Aniruddha Roy Chowdhury taught us when a woman says ‘No’ it means no.
The strong screen presence of Amitabh Bachchan and Piyush Mishra, accentuated by the bold performances of Taapsee Pannu, Kirti Kulhari, Andrea Taring and Angad Bedi, truly complemented the effortless writing and skilled camerawork that made the thriller-cum-courtroom drama a treat for the senses.
Pink Movie Poster
Pink gives us a message without being preachy. It deals with the oft-so-repeated clichés about feminism, but the fresh treatment drives home the message so effortlessly that you are numbed by the time end credits roll.
The one scene from the court, where Palak breaks down in the face of constant grilling of the prosecution is extremely relevant in our times. So what if a woman takes money in lieu of sexual favours? It is well within her rights to say no, and when she does no one dare force her into bed!
In fact, out of the three female protagonists, Palak will remain my favourite. With shades of grey, she is the weakest among the lot – but when harassed to the point of brink, she stands up to the bullying boys and refuses to cow down!
The best thing about Pink is that the film does not offer us any scope of being judgmental. The incident at Surajkund which triggers the chain of events in the film, is shown in the end credits – the audience keeps guessing and putting pieces together based on the witness accounts in the courtroom.
At a time when rapes have become just another headline in the inside pages of newspapers, molestation is commonplace and eve-teasing sort of birth right for the men, Pink brilliantly tears down the false notion that women who drink, socialise or solicit with men, are inviting them for sex.
While Pink deals with four middle-class girls from South Delhi, Parched is set in the deserts of rural Rajasthan; an antithesis of the urban saga. It is the story of four women who are ‘outcasts’ even in the 21st century.
Rani (Tannishtha Chatterjee) is a widow who weds his teenage son to a 15-year old Janki. Although Janki (Lehar Khan) has a lover in her village, she is forcefully wedded to Gulab (Riddhi Sen) for money. To foil the wedding, Janki even sacrifices her prized possession – her waist-length hair, thus becoming a laughing stock in the village.
A scene from Parched
Rani’s friend and soulmate in the village Lajjo (Radhika Apte) is a happy soul save the fact she is unable to bear a child. Obviously, the husband thinks it is the fault of the woman as men can never be infertile. Her barrenness is a reason for misery and nocturnal abuse for Lajjo. Rani has another friend, Bijli (Surveen Chawla) who dances at the ‘tamasha’ by the evening and sleeps with men for money at night.
‘Parched’ in true sense is a film about women’s liberation. It is not coincidental thus the climax occurs on ‘Dashami’, the last day of Durga Puja (or Navratri in the part of India where the story is set). These four women, cocooned in their worlds, have their share of fun. They joke about men, come up with curse-words named after men (move over MC, BC), seek solace in each other and are also involved in making handicrafts for a local self-help group.
Patriarchy comes in any form – whether it is the abusive husband or the brash son who looks down upon his widow mother, or even the customers who think they own a woman because they have paid for her for the night. Society deals a rough blow to the four women but they refuse to be bogged down. Their thirst for freedom in this parched land keeps them going.
Tannishtha Chatterjee and Radhika Apte are both strong actors with their own legacy and do full justice to the roles. Surveen Chawla is a revelation as Bijli. This confident young girl refuses to let go of her aspirations even when a new ‘tamasha’ girls forays into the circus or when the man she thought understood her desire for freedom fails to live up to her expectations.
Leena Yadav’s film is raw, bold and real. She drives home the message that women have the right to decide the course of their lives, no one else. The whole film has an earthy feel and the dialogues are at times raunchy. The writing has various shades – from gloomy to boisterous, as is life.
Films like Pink and Parched need to be made more often. More stories like these need to told if the centuries-old patriarchy has to be eliminated. Thanks to Aniruddha Roy Chowdhury and Leena Yadav for making a start.
My Rating: 4/5 stars to both the films
DISCLAIMER: All Images Used In This Pose Have Their Respective Copyrights