The Übermensch (meaning super-human) is a concept developed by philosopher Friedrich Nietzsche. In his book ‘Thus Spake Zaruthastra’ Nietzsche describes how God is dead and it is up to the Übermensch to set the world in order, for a better future. Srijit Mukherji borrows this concept in his latest venture ‘Vinci Da’ – a psychological thriller that questions the very concept of what is good and evil.
Vinci Da is the story of a mentally-deranged man Adi Bose, who considers himself Nietzsche’s Übermensch. A ‘lawyer’ by choice, Adi had a troubled childhood (having murdered his own father, just half an hour before turning 18; thus avoiding capital punishment) – more of that later. Adi Bose is law unto himself, who does not care about a few ‘collateral damages’ in this war against law-breakers who escape justice because of the corrupt system.
To bring his ‘noble cause’ to fruition, Adi Bose hires the services of a prosthetics make-up artist in Tollywood – Vinci Da. A Leonardo Da Vinci fanatic, Vinci Da finds it hard to find work in Tolly-para because of his uprightness and refusal to budge from the righteous stand. Inadvertently, his artistic acumen suffers as he is forced to earn a livelihood by working for local drama companies. It is not a surprise that he laps up the proposal of a challenging work from Adi Bose, which will demonstrate to the world the wonders he has up his sleeves.
What follows is an intense Ken and Abel-esque clash between two ideas. Vinci Da is torn between his artistic enterprises and the hapless suffering the innocent ‘collaterals’ have to bear. Adi Bose, on the other hand, metamorphoses from the vigilante who wants to rid the society from law-breakers into a shrewd, manipulative, power-hungry villain who would stop at nothing. In signature-Srijit Mukherji style, the duel enters the final act with a bang and curtains fall with a dramatic twist. Fate has the artist imprisoned in his own work.
‘Vinci Da’ may not be Srijit Mukherji’s best work, but surely is among the front-runners to qualify as his best five films. With power-packed performances by the two leading actors, hard-hitting dialogues (a forte of Srijit Mukherji), spellbinding art direction, foot-tapping music by Anupam Roy and the brilliant use of lighting in some scenes, Vinci Da easily makes an impact. The chemistry that Ritwick Chakraborty (Adi Bose) and Rudranil Ghosh (Vinci Da) share would remind one of Feluda and Maganlal Meghraj.
There are scenes in the film, which stay with you. The dream sequence where Leonardo Da Vinci is painting Mona Lisa – with Rudranil and Sohini’s voiceovers, or the sequence before the interval where Adi Bose demolishes Vinci Da’s reverence from Da Vinci, are truly of international standards. And then, there is the gruesome murder sequence in the beginning of the film. Riddhi Sen hits the ball out of the stadium as young Adi Bose.
Alas, after all the memes and videos on DCDD Poddar, one had to satisfy themselves with a scene or two of the enigmatic character – forever in pursuit of Bose and Vinci Da. Even in his short presence on screen, Anirban Bhattacharya is a beacon that shines bright. As does Sohini Sarkar as Vinci Da’s love interest, and a pivotal character who significantly influences the game of nerves between Adi Bose and Vinci Da. The hasty climax and jarring background score in some scenes are the only sore-points in an otherwise Srijit-esque thriller.
As I had said in my immediate reaction on Facebook after watching the film, Vinci Da is more psychological than thriller. The film provokes you to think and question your belief-systems. Notwithstanding Nietzsche and Übermensch, Vinci Da is also a socio-political commentary on the daily mockery of democracy in our country, that has become the mainstay.
May be, our very own Übermensch will rise from within.
My Rating: 3.5/5 stars
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“There is another world inside this one – no words can describe it.” – Rumi
Uma, one of Srijit Mukherji’s recent works, ends with an ode to Kolkata. What that 2 minute sequence elaborated in words, ‘Shah Jahan Regency’ does in frames, poetically shot, in the first and last scenes. From Parambrata (Rudra)’s monologue to ‘Jokhon Porbe Na More Payer Chinho” in Rupankar’s voice – one falls in love with the City of Joy all over again.
Change is the only constant in life – and what better can reflect on this constantly evolving mad rush of existence than a hotel? Guests arrive, guests go, but life goes on forever (sorry, Tennyson). Manishankar Mukhopadhyay tried to capture the essence of an ever-changing city through the highs and lows of a hotel in his novel ‘Chowringhee’. Seven decades later, Srijit Mukherji took on the mantle to write his love letter to the city in his film ‘Shah Jahan Regency’.
When I was walking in to the theatre, there was a lot of chatter among the crowd – who is playing Sata Bose, whether the film will live up to Utam Kumar’s magnum opus of the same name, and likewise. Although the director had made it amply clear that this is an adaptation of the novel in the 2019 context, comparisons with the 1960’s film were bound to arise.
That Srijit’s Shah Jahan is different, comes as a disclaimer right at the beginning when the protagonist Rudra declares his ‘Shah Jahan’ is Chowringhee’s reincarnation (jaatishwar; the reference to Srijit’s previous film, where he adapted another famous Uttram Kumar character, is unmissable). Thus the characters also sport different names here – Sata Bose is Sam (Sameeran). Karabi Guha becomes Kamalini. Marco Polo is Makaranda Pal. Mr and Mrs Pakrashi have become Mr and Mrs Sarkar here. Nityahari has become Nitty Gritty in the modern take, and we have a new character – Gayatri.
Like his other works, the dialogues bear the touch of intelligence, the signature-Srijit we are familiar with. Even the sub-titles are written with such care that anyone unfamiliar with quintessentially Bengali colloquialism won’t miss out on subtle references. So, when Rudra asks “Amar ekta prosno ache”, pat comes the reply “Ora kaanta benchhe khay” from Sam. Or that one character is jokingly referred to as ‘Shah Jahan’s Jahanara’. Brilliant is the word.
The sublime writing is complemented by the transcendent background score. In a contrast to the high-note orchestra, which we are accustomed to hearing in Srijit’s films, the score here is minimalistic. It is almost like a muted tassar saree that stands out in a crowd of Louis Vuitton and Gucci.
Shah Jahan Regency unfolds like the first spell of rain after a long hiatus. As chapters unfold, we are introduced to the characters. They have been sketched with the same tender care that a kumor would take while carving the goddess out of clay. The director humanises the hotel through the characters and the guests.
Essentially a chamber-drama inside a hotel, Shah Jahan Regency encapsulates the soul of the city and eases its way in the inner recesses of your heart. The performances never fail to tug at your heartstrings, sometimes leaving a rock-shaped hole in the crevices of the heart with their stellar act. In an ensemble, balancing storylines is often a tightrope walk, but in this film each character has a marked identity.
Parambrata impresses as Rudra, the out of work young man, who evolves into a skilled hospitality manager, thanks to the training he’s received from the efficient duty manager Sam (played equally emphatically by Abir Chatterjee). His entry into the hotel, and his chance encounter with Gayatri (Rituparna Sengupta), who plays classical instruments at the lobby, is a scene worth preserving in memory.
Even in the two-odd minutes of screentime, Sujoy Prasad expresses the angst of marginalised people in his monologue. The emotions behind the cold words are so palpable and relatable. Rittika Sen also does a sincere job in her role as the air hostess. Anjan Dutt and Mamata Shankar, too break their moulds to portray characters, which we have rarely seen them play. Anirban Bhattacharya, as the love-struck, romantic son of industrialist, reaches for your heart with his rendition of ‘Kichhu Chaini Ami’.
But the soul of the film belongs to Swastika Mukherjee. The hostess of a rich Marwari businessman, she is a permanent resident of Shah Jahan Regency, and often entertains guests in her suite. Whether it is the moral dilemma of extending favours as an escort, or the innate craving for love, in the mad where every customer desires her body, or the conviction of saying no to a prospective customer because her mind is not at peace – Swastika lives the character of Kamalini effusively.
The fate she chooses for herself can be debated – but the inherent poetry in her pain, and the heart-shattering beauty in her tragic last moments, will make you squirm with unease in your seats. I would have loved to see the film end with her track (and Samiran’s chapter before her). And then there is a the contrast – the soul of Shah Jahan – Gayatri, who resigns to her fate and moves on (signifying how heritage gives way to modernity, and one can only accept the new world order and continue to exist).
Overall, Shah Jahan Regency retains the essence of Shankar’s Chowringhee and the soul of Kolkata – the ever-changing, always-evolving, flowing bursts of change, and how things remain the same. As Rabindranath had once said, “অন্তরে অতৃপ্তি রবে, সাঙ্গ করি মনে হবে- শেষ হইয়াও হইলো না শেষ…” (it ends on a discerning note, you feel there is more to come. But alas, the curtain falls), you leave the theatre with a heavy heart, expecting more from life.
My Rating: 3.5/5 stars
DISCLAIMER: All Images Used In This Film Have Their Respective Copyrights