“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
Sita is the epitome of chastity and purity, and Indian society expects women to live by her standards. Sita has to stand the test of fire, prove her piety for having spent many a night with a man who was not her husband. Even though she sails through societal tests, she is sacrificed at the altar of governance and sent on exile by her pious husband King Rama.
Mainak Bhowmik tells us the story of Sita in modern context. But Sita here is not the meek and chaste woman one read about in the centuries-old scriptures. Confident, self-sufficient, alcoholic, and “bold” – Doel Mitra runs into a controversy over a leaked MMS where she is seen making love to another man, in an international film. Criticised at home and around, she stands her ground and fights the world, to the point of utter abhorrence. The idea of female sexuality is alien to Indian culture and no wonder the society fears women who are confident experimenting with theirs.
Take One is not just the story of Doel Mitra, the actor. It is also a tale of the pain of a widow, a single mother who has to seek her in-laws’ permission to even meet her daughter. Doel’s world revolves around two pillars – her daughter and her boyfriend. Both worlds come crumbling down.
Take One is neither a take on the Ramayana in the modern context. It is the story of a woman who refuses to live by the rules set by the society. It is her fight against life, an attempt to let a free soul break free from the fetters of societal norms.
Mainak Bhowmik’s direction is complemented by the brilliant score by Mayukh Bhowmik. The scene – where a lonely, wasted Doel whiles her time waiting for her boyfriend to return – is shot beautifully and the music would immediately remind one of Charulata’s loneliness. Combined with the metaphoric scenes of Ramayana, the story attains a full circle.
One cannot forget Rahul Banerjee’s pivotal role in the plot. Although, his rough marriage was a digression from the plot, his presence accentuates the humane touch to the plot.
The use of colours, mix and match of dark lights in several scenes, camera angles (specially Swastika’s portraits) were unmatched. The subtle nuances in the story-telling, accompanied by the music, keeps the audience eager for more.
The film outrightly belongs to Swastika. One cannot imagine anyone else essaying the role of Doel so naturally. Ever so graceful and bold, she has all the emotions in the perfect balance as the scene demands them to be. From the boisterous mother to the estranged girlfriend – she carries out all roles with ease. This is her best performance till date, and one can hope the National Award is coming to Bengal next year.
If you are wishing to watch Take One only for the “bold scenes”, this film is not for you. Watch it, only if you can value good art and not deal with rhetorics over a scene or two.
My Rating: 4/5 stars
P.S. – Presence of Gaurav Chakraborty in the theatre was a distraction. Could not help but ogle at him from time to time.
DISCLAIMER: All Images Used In This Post Have Their Respective Copyrights