Durga Pujo brings with it several cultural and social appendages that make this autumnal festival so glorious and enthusing. Among the myriad cultural innuendos associated with Pujo, ‘Pujor Release’ tops the list for Bengalis, for sure. And when it comes to Pujo releases, Srijit Mukherjee is a name to reckon with. From Autograph (2010) to Zulfiqar (2016), his films have always added to the splendour and merriment during the festivities.
Pujobarshiki (or special Durga Pujo editions of popular magazines) is also ingrained in our festive culture, just like films. And Pujobarshiki Anandamela always meant embarking on a new adventure trail with Kakababu. When the trailer of ‘Yeti Obhijaan‘ released, it brought a wave of nostalgia with it. The trailer was visually stunning, the story was intriguing and the feel of the trailer was sensational. And the film lives up to the interest the trailer peeked in viewers.
The scale of this film is as grand as the Himalayas. Soumik Halder deserves the biggest credit for capturing the essence of this larger-than-life canvas in the most serene style. He almost humanises the Hills, which is endearing to say the least.The exceptional use of aerial shots, coupled with the vibrant texture of the varied hues of snow lets your imagination run wild. There is a scene where an injured Sherpa makes his way to the camp, sliding on the snow. The gleaming red colour of his blood, juxtaposed against the dry and sombre snow, was a spectacle to behold. The film also stands out for the breathtakingly beautiful use of lights in the underground caves, where the climax of the film unfolds.
One of the reasons why I had not liked Mishawr Rohosyo was the length of the film and unnecessary sub-plots. Yeti Obhijaan steers clear of these shortcomings and in a signature-Srijit style presents an exhilarating thriller that would be palatable for anyone from 8 to 80. The dialogues are witty and sharp. And the riveting background score is sure to give you goosebumps all along.
Prosenjit Chatterjee gets in to the skin of the character and makes it his own. His silent stares, signature limp, and quintessential Bangaliana will keep you on the edge of your seats. As Shantu, Aryan Bhowmick has come a long way from Mishawr Rohosyo. Even the character of Shantu has evolved and matured. In his small role, Jishu Sengupta again gives us a taste of his mettle.
Few years back, when Chander Pahar was adapted for the silver screen, the makers faced a flurry of angry reactions over the depiction of Bunyip. These are characters we have grown up with; we have visualised them in certain fashion in our own imaginations. Any conflict is bound to create a negative impact. In fact, after seeing the posters of Yeti Obhijaan, one question kept lingering in my mind. Will the Yeti go the Bunyip way? Srijit Mukherjee surely deserves a word of praise for his intelligent handling of the ‘myth’.
Overall, Srijit Mukherjee deserves a huge pat on the back, and a packet full of sweets from Balaram Mullick (wink) for setting the bar high yet again. Bengali cinema has never seen an adventure film of this magnitude, and finesse, before. This Durga Pujo, every Bengali must take a ride of nostalgia to the Alps with Yeti Obhijaan.
My Rating: 3.5/5 stars
P.S. I am taking My Alexa Rank to the next level with #MyFriendAlexa with BlogChatter. This is Post #3
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Adaptation (noun) is a film, television drama, or stage play that has been adapted from a written work. Since art is subjective and personal, written words get a new meaning in the new medium. While the central theme remains intact, the setting and interpretation infuse new life to the text. Thus, Romeo and Juliet become warlords in a remote village of Gujarat or Hamlet turns up as a misguided freedom fighter in Kashmir.
In Srijit Mukherjee’s Zulfiqar, we get a slice of Rome in the dock area of Kolkata; Senate turns into Syndicate and Caesar falls not because Brutus loved Rome more but because Bashir Khan prided himself for being a ‘desh bhakt’.
Recreating a play that was staged in Europe in the sixteenth century in the context of socio-economic politics of a miniscule region of a metropolis is no mean feat and Srijit Mukherjee passes with flying colours – Zulfiqar (Caesar) is the Robin Hood-esque leader of the dock area; his growing popularity is a cause of concern for the syndicate. Kashinath (Cassius), a don turned promoter, hatches a plan to cut Zulfiqar to size. But without Brutus (Bashir)’s support the plan cannot materialise. Hence the Conspirators appeal to Bashir’s patriotism (with forged documentation and hacked emails), forcing the ‘honourable man’ to betray his friend.
Zulfiqar’s death is avenged by his trusted lieutenants Marcus and Tony (an intelligent digression from the original text; while Marcus is a fighter who is romantic at heart, Tony is the man who manages the finances of the Syndicate. Clearly, Srijit Mukherjee chose to distinguish between Mark Antony, the scheming worrior whose loyalty we witness in Julius Caesar, from the Antony who falls in love with Cleopatra). The Triumvirate of Akhtar (Octavius), Laltu Das (Lepidus, a corrupt policeman in the film) and Marcus-Tony take down the conspirators. However, the greed for power, naked ambition and distrust bring down the Triumvirate too as Akhtar establishes his control over the syndicate business.
Little nuances throughout the film embolden the reason why Srijit Mukherjee is considered one of the few intelligent filmmakers in Bengal. Queen Cleopatra (Rani Tolapatra)’s Egypt becomes ‘Blue Nile’ bar in the film. To give credence to Calpurnia (Karishma)’s premonitions, she is established as a drug addict with agrophobia. While Shakespeare used long monologues to establish Brutus’s love for Rome, Srijit Da introduced a sub-plot of terrorists seeking safe haven in the area ruled by syndicate.
The scene where Caesar’s ghost appears before Brutus is one of the masterpieces in cinema – the tranquil waters of Rangit (resembling deceased Zulfiqar’s state of mind) stand a stark contrast to the turbulent waters of Teesta (portraying the conflict within Bashir’s mind). The beautiful locale of Triveni (one of my favourite spots in north Bengal) only add to the visual opulence.
Obviously, the film has its flaws. The flawless Bengali diction of predominantly Hindi speaking characters come across as strange in some scenes. Also, why would a mob in a Hindi/Urdu speaking area get incensed by a speech made in predominantly English (interspersed with broken Hindi)? Julius Caesar stands out for Mark Antony’s speech in Act III; the one in the film, though impassioned, lacked punch.
The reason why Zulfiqar will be a cult film in Bengali film history is because a genre of cinema is born in this part of the world. Underworld and gang wars had hitherto been unexplored in Bengali cinema and we finally have a mainstream movie that has taken gangsters beyond the mindless pot-bellied villains with horrific hair who are beaten black and blue by the angelic heroes. In fact, Srijit Da has written the scenes as if he were staging the play on silver screen; this really is a fresh approach to telling a story.
Srijit Mukherjee has in the past redefined actors in his films. From Prosenjit (Autograph) to Rituparna Sengupta (Rajkahini) we have seen how mainstream actors broke free from their moulds to essay characters that will forever be etched in the minds of viewers. Zulfiqar gives us Dev and Ankush. Dev has silenced all his critics and trolls with his portrayal of Marcus. The feeling of angst, betrayal, failed love and jealousy in his eyes in his last scene was so intense, only a seasoned actor could have pulled it off. Ankush effortlessly transforms from the soft lover-boy who loves his music to the ambitious heir who not only seeks revenge for the death of his uncle but finishes off all his competitors without even batting an eyelid.
Jishu Sengupta as Kashinath kept reminding me of Maganalal Meghraj from Joy Baba Felunath. Only an actor of calibre can deliver a performance so monstrous! Kaushik Sen surprises in his avatar of tragic hero Bashir. Paoli Dam remains unexplored as Karishma (but I guess the scope of her character was limited). Nusrat adds the oomph as Rani Tolapatra (while succinctly displaying her inner conflict as she remains undecided till the end whether to choose love or social security; her suicide was also cleverly conceived).
Music has always been an important pillar of Srijit Mukherjee’s films and he does not disappoint in Zulfiqar either. The background score by Indraadip Dasgupta fitted the bill. Anupam Roy’s compositions were soothing as usual. Only one romantic track in the second half felt out of place in the narrative. Nachiketa’s haunting voice will keep you seated in the theatre till the last letter of the end credits fade from screen.
To sum up, when you are adapting a story that has been told many times, it is the freshness of storytelling that matters. That is why Vishal Bhardwaj’s Omkara clicks while Aparna Sen’s Arshinagar fizzes out. Srijit Mukherjee made Shakespeare’s play his own, and there he stands out in the crowd.
My Rating: 3.5/5 stars
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