Parthapratim Deb`s Wonderful Play Sagina Mahato (Review)

The story in Sagina Mahato, bears a unique blend of vigor, innocence and impulse. Sagina Mahato, merely seems to be a common man, but his presence before all others in his surroundings seems to be an exceptional person whose, eagerness to know people and whose lending hand towards distressed people without knowing ultimate result, whose  honest attempt for wiping  out all sorts of worries and anxiety for peaceful living makes him different from his surroundings. In the society there is no room for an individual, but in many occasions, even for the greater interest of the society, an individual may take a vital role. We must know by rising above all pride and greed and fear, that, worldly losses and physical death can take nothing away from the truth and greatness of our soul.

This is enough to allure a director to carve out bold and spectacular sketches on the stage. The scenes enfolded in such a manner as there is utmost entertainment amidst sufferings, torture and defeat. This down-to-earth flavor is director’s inspiration. The big cast displays youthful power and radiance in a variety of shades. Above all, the director  finds  that the philosophy of the labor class could not be confined to a particular area. It crosses all bounds and becomes universal. All these gave great impetus to the director Partha Pratim Deb to work on this play. The director says that he will be grateful if this effort gives pleasure and food for thought.

Sagina Mahato, a popular play by Badal Sircar is based on an enterprising story by Gour Kishore Ghosh. Sagina Mahato is a  honest dedicated and disciplined worker. Sagina Mahato, a fascinating leader among illiterate, poverty-stricken, rural worker community, uses his unique impulsive mechanism to confront the torment of the employer class. This entices urban political leaders, who send Gouri, their subordinate, in order to set up their rural party union with the help of Sagina’s charisma before the forthcoming election. Gouri, noble and sincere at heart, does her best but unambiguous Sagina falls prey to the complexities of the political world, so much so that his deprived kin become his foe. Sagina innocently convinced, rapidly undergoes metamorphosis through the ‘grace’ of dishonest and self-interested politician. Sagina turned himself as the key tools of self-interested politician. Courageous Sagina ultimately rejects all temptation of National Labor leadership and returns to his people, who once again cheer him up as their pathfinder. The story depicts that a true man fighting honestly for truth shall be a triumphant man any time any moment and at the cost of sacrifice of his life may establish himself a man of warrior for truth. A man of principal, a man having commitment to society cannot shrug his shoulders. Almost in this manner the producer says all about their production- Sagina Mahato.

But in reality there was one Sagina Mahato himself in the working class movement at tea gardens near Siliguri at Darjeeling district during pre independence period of 1942-43. And there is ample scope of thinking that Gour Kishore Ghosh at the same time was inspired by Jean Paul Sartre’s ‘In The Mesh’ written in 1948 where the protagonist is also some Jean about whom Jean Paul Sartre wrote - In a country that is dominated by foreign powers, power is corrupt. Those people who hold power would be villain despite themselves, as Jean.

Truly Sagina Mahato is a story against Indian Communist Party`s hegemony and their practice of culminating all types of movements into ballot paper. “Sagina Mahato” also supports the power corrupts theory. In the seventies Tapan Sinha directed Sagina Mahato where Dilip Kumar and Saira Banu played as Sagina and Lolita respectively. The film got enormous box office support. That was the period of Naxalite upsurge which started from Prasad Jot very near to Siliguri which once upon a time was the battlefield of real Sagina. Tapan Sinha might have discovered some similarity of Sagina with Charu Majumder, the protagonist of that movement and who exposed CPM’s hunger for power and as a consequence their engulfing rampant corruption. Sagina thus in Tapan Sinha’s film in the ‘Period Of Liberation’ might be a metaphor of Charu Majumder. To talk about the production, Parthapratim’s Sagina Mahato is a gorgeous work with very simple arrangements.

At the actor’s left, almost near apron area and closed to first and second wings there is suggestion of a hut where lives ‘Bhabi’ (sister in law), who seems to be the cradle of the working class community. Here they get little food, some country liquor, here in this courtyard people like Gurung (Shyamal Das), Mhadeb (Prasenjit Bhattacharya), Banshi (Sukanta Sil), Jagu (Pinku Saha), Kishan (Laltu Das), Sukhan (Jay Lahiri), Lolita (Shipra Pal) and others assemble. They cry they quarrel they sob they laugh they dance they sing they enjoy–everything in this courtyard. And amidst them the centre figure is always the unanimous leader Sagina Mahato (Parthapratim Deb) who teaches them not to stand on their knees before the Mill Owner, Factory Owner and other employers, who teaches them to protest and to retaliate. Sagina teaches them the theory and practice of strike. Sagina has changed the then existing order of labor-owner relationship.

In this poverty ridden cross section devoid of education, devoid of minimum comfort for livelihood Sagina by dint of his character, by dint of his enormous tenacity emancipates as not only the leader but also as a emancipator of the poor worker community. The Communist Party Of India, the self declared and self imposed vanguard of the working class got the news at Calcutta. To downsize Sagina according to their scale they send Gauri (Nandini Bhowmick) from Calcutta itself. In that poverty ridden country, liquor smeared arena Gauri appears with her urban attaché targeting Sagina whom she finds drunk, almost senseless and entangled with Lolita in a manner unlikely in urban and Communist area. Gauri is here in the almost subaltern area to subvert Sagina and thus to throw him in the whirlpool of vote- general election- formation of Govt etc at the cost of the interest of these subalterns. On the contrary Gauri gets involved in the modus operandi of Sagina, and gets gradually involved in Sagina’s activity. Thus instead of making Sagina her follower, she herself becomes follower of Sagina. But ultimately in a conspiracy nurtured by the HQ people of Gauri, Sagina gets caught in the cobweb of power. He is taken away from his soil in the name of making him national figure. Gauri too is also withdrawn from the breeding ground of Sagina the leader. But in the long run Sagina tears apart the mesh of power and Gauri too dissociates herself from her parent party and comes along with those people who after beating Sagina bitterly for his fifth columnist, embraces him with pride and passion.

Aalap’s debut production Sagina Mahato under the debut directorial work of Parthapratim Deb of Nandikar is a complete theatre. And so after the play the auditorium offered a standing ovation to the team Aalap under the leadership of Parthapratim Deb. The play with flamboyant music, dance and tight team work is in a word amazing.

As a singer actress we got an excellent newcomer named Rupa Deb. And Pubali Nath in her first appearance in stage has marveled us. Sipra Pal’s Lolita is another lively creation. And Nandini Bhowmick as Gauri has shown her excellence in depicting different shades of the character she played.

But the gem of gems is Parthapratim as the protagonist Sagina. Partha is simply a magician on the stage as an actor and as a singer too. In his debut he has sparkled as a director too. After a long gap we got the powerful actor writer Shubhashish Khamaru in the performance again. Be in the stage Shubhashish – it’s our humble request. Khamaru along with Kamal Chatterjee played the role of Communist leadership and both the actors efficiently reflected the broken characters of Indian Communists. Rhishabh Basu as manager or management is also competent.

In stage craft Bilu Datta has done his job effectively with minimum arrangement. Manoj Prasad has done the light design nicely and Nilava Chaterjee has drawn the title with his inherent efficiency.


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-Pachu Ray

Goynar Baksho (2013)-Bengali Movie User Review

Aparna Sen’s adaptation of Shirshendu Mukhopadhyay’s Goynar Baksho starts a comedy spanning three generations but nearing its completion it diverges unnecessarily.

An excellent choice of cast with Mousumi-Saswata-Kankana-Manasi-Paran-Aparajita-Piyush-Kaushik-Shrabanti and the rest putting up a superbly orchestrated presentation, a careful selection of locations with exquisite cinematography (Soumik Halder), detailed art direction (Tanmoy Chakrabarty), an aptly matched make-up and costume design (Sarbani Das), smooth and elegant editing (Rabiranjan Maitra), a background score (music direction by Debojyoti Misra) just perfect to tone the mood throughout, yet the movie falls short of its expectations due to a surprisingly awkward ending. It is not abrupt or immature – since the story is agreeably guided to a well conceived finale but it is certainly not fitting to the plot. The deviations from Shirshendu’s original, though pleasantly enjoyable otherwise, but for the final twenty minutes or so it had not only shot off at a tangent but causes a loss of cohesion with the underlying theme that had been woven carefully till that moment. Infact the rest of the narrative as compared to the final twenty minutes seems but two stories loosely bound by a central element – the precious jewellery box.

A story stretching three generations, it portrays how a crumbling Bengali nobility with an undiminished sense of false pride, tottering on the verge of complete ruin, is saved by the wit and grit of an undeterred housewife with aid coming from the most unusual quarters – a spirit from the other world!

Somalata, hailing from a family of humble means, is wedded to Chandan, younger son in a family of erstwhile zamindars – apparently possessing enormous riches. But as it turns out, this seemingly rich lineage of Bengali babus lived on the money gathered by selling off their only two prized possessions – lands in East Pakistan and family heirlooms like jewellery and the likes. Salaried jobs or business were insults to their prestige while squandering off wealth for all their leisurely pursuits was quite okay for them. Fortunately, some of the ladies of the family thought otherwise and so when crisis befell they were the ones to think innovatively in trying to save respect and esteem for the family.

At one point of the crisis, Somalata’s aunt-in-law, the elderly Rasmoni – spirited but foul-mouthed, widowed at the age of twelve and living at her parent’s residence since then, died leaving behind a great fortune in the form of several expensive ornaments – her marriage gifts – safely stored in a jewellery box. Nothing could have been as convenient but for the fact that Rasmoni’s ghost (without which a Shirshendu literature is never complete), immensely fond of her possessions during her lifetime and unable to bear the loss of it even in death, appeared and scared off the young Somalata compelling her to conceal the box, without the knowledge of her spendthrift brother and nephews. When the box went missing and the rest of the family members started an intense and shameless search for it, curious happenings prevented them from locating the box and bothering the nervous Somalata – thanks to Rasmoni’s ethereal presence always at the right time at the right moment.

Thus began the exciting adventure of the timid housewife turned resolute businesswoman who used her intelligence and perseverance to convince her dear ones and the mischievous spirit of Rasmoni for shaping a steady future for her husband and the family. The fame of decaying nobility was not only restored but was glorified as a successful business house of the province and Somalata became a proud mother to Chaitali, a flawless reflection of Rasmoni in her appearance.

Upto this particular point, the movie had been a hilarious joyride interspersed with sentiments where social values were explored for two generations of women. But the third generation as pictured from the perspective of Chaitali takes the movie away from the natural drama and introduces quite a different angle – the Naxal movement of Bengal, which though complete in itself, spoils the entire mood and squeezes the charm out of the movie. Worse still is the marked deviation from the original that ensured an intense and passionate completion while the forced introduction of the political perspective in the script blurs out the short but classic romantic angle too. So though compliments are due to Sen’s direction and the choice of locations but it must be admitted that the script was not well composed. So the reader of the actual story may regret the most after watching the full version of it (an edited version is reportedly playing in certain halls after its release).

Coming to the acting, greatest pick of the movie is undoubtedly Mousumi Chatterjee in portraying Rasmoni, the aged aunt-in-law channeling the frustration of her discontented womanhood in cursing the entire world but remaining revered throughout her lifetime and also in death. The charmingly charismatic Mousumi is so lovably foul-mouthed with her impish grin and mischievous pranks, that she remains the guiding spirit of the movie. It is really wondrous that at an age when others might contemplate a more serene role, she is sprightly as a teen, radiating the same freshness, the same playfulness so natural to her. Seeing her is a rewarding experience and it seems that nobody else could have been more suited for the role. Thus Konkona Sen Sharma (Somalata) should be commended too who balances the scale opposite the experienced veteran with her composed and measured performance of the nervous housewife, the shrewd businesswoman and the savior of the decaying household. Saswata Chatterjee (Chandan) is also wonderful in portraying simultaneously the signature Bengali babu and the rich younger spoilt son of the nobility while the others including Manasi Sinha and Paran Bandyopadhyay (Chandan’s parents), Piyush Ganguly and Aparajita Audhya (Chandan’s elder brother and his wife respectively), Kaushik Sen (poet and Somalata’s admirer) and Shrabanti (Chaitali) fittingly carries out their part.

Another appeal of the presentation is the title song, written by Srijata and sung by Upal and Anindya – a Bengali rap number – with its lilting tune and witty lyrics that sets the correct tone in the beginning and immediately brings focus on the careful comedy.

Thus the movie is highly recommended with a couple of tips, do not compare it with the literature and leave the hall as Chaitali grows up.

Rating – 7/10

- Anirban De

Chayamoy (2013)– Bengali Movie User Review

Tollywood filmmaker Haranath Chakroborty entertains children and amuses the audience in general with his rendering of Shirshendu Mukhopadhyay’s eerie and eccentric characters in Chayamoy.

Rating 6.5/10

A pot of gold coins of historical importance seems to disrupt the quiet ambience of Shimulgarh when it is silently unearthed from its archaic past by a London based Bengali scholar and changes hands in the most interesting manner. The script and sequences follow Mukhopadhyay’s original storyline trimmed aptly for the screen and the main plot starts in the courtyard of Gagan Sapui, Shimulgar’s affluent but miserly pawnbroker where an apparent thief is beaten up and relieved of his possessions by Sapui’s guards. When the crowd gets interested in the stolen goods, Sapui peeks into the bag and confirms that those were indeed his but refrains from revealing its contents. Thus begins a race between the greedy and the good that witnesses characters, each more peculiar than the other who adds varied flavour to the adventure.

There is the fraud ecclesiastic Kaali Kapalik, peeking into all the village secrets – the actual enigma behind his ‘powerful insights’ – and trading them conveniently for his own benefits.

In contrast, the nonagenarian but sturdy Gourgobinda, cherishing the dream of living a further fifty years, makes it his sole duty to shield the weak and fight for justice, no matter how powerful the enemy might be.

Another interesting character is Ramapada Biswas, the village astrologer gone crazy owing to his calculations foretelling his own bleak future, blurts out prophecies at no particular moment.

Again there is Lakkhan, Gagan Sapui’s burly bodyguard and a man with a good heart, questionable past and a weaker brain, trying to make amends for his evil past and hot on the trail of the man with two left hands.

While the wealthy Gagan Sapui aspires for an ever increasing fortune and tries expanding it by any means, the penniless Haripada – the lone goldsmith of the village – takes all the risk to protect the innocent and to preserve priceless artifacts from being tainted. In fact his entire family, poverty stricken but principled, serves as one of the most important pillars of the plot.

Finally there is the friendly ghost Chayamoy, materializing at the right place at the right moment, scaring off the evil and guiding the worthy towards the right path and finally liaising the past with the present, he plays the central theme and steers the course of the movie and its plot.

These and many more participate in the excitement that will no doubt bring thrill to the young crowd and also will put a smile in their guardians’ faces. Infact if the dream sequence of Gagan Sapui could have been omitted it could have been more aptly termed as a children’s movie, but with that too, it is no less an enjoyable entertainer for the viewers.

The actors were cast more or less fittingly for the roles, the first and foremost being Dipankar Dey portraying the greedy and lusty Gagan Sapui to perfection. Sabysachi Chakraborty in the title role was in no way less fascinating and so does Ramen Roychowdhury in his short but crisp appearance as the eccentric Ramapada Biswas. But Paran Bandyopadhyay, quite surprisingly, seemed a bit stiff in his characterization of Gourgobinda.

Though the veterans provided the mainstay for the smooth sailing of the script, the lion’s share of my personal admiration goes to the trio of Sudip Mukhopadhyay (Lakkhan), Shantilal Mukherjee (Kaali) and Debesh Roychowdhury (Haripada). Beholding Sudip Mukhopadhyay as Lakkhan was surely a novel experience for the viewers, both young and old. Moulding himself to represent a brute and that too in a children’s film, he projected a character who reveres the elders, is confident of his strength but scared out his wits by ghosts and chiefly remorseful of his violent acts. With the blend of emotions that Sudip Mukhopadhyay displayed, the character truly represented Lakkhan that the original book defined. In the same breath Shantilal was in no way less admirable. Putting up a wonderful performance throughout, his expression as it varied from disbelief to awe when the persons he assumed as opera artists turned out to be ghosts, will be remembered for a long time and remains as one of the most memorable scenes of the movie. Finally Debesh Roychowdhury has been another apt choice who elevated the character of Haripada to a newer dimension. Haripada’s looks of agony as he watches over his family devoid of a proper meal had been as much realistically portrayed by Debesh as was his naïve delight and grateful acknowledgement as he senses a more bright future. Besides them Gourab Chakraborty as Indra Pratap and Master Adhiraj as the young Alankar have done justice to their roles.

Souvik Basu’s appealing cinematograpy truly brought to fore the rustic beauty of the countryside and provided a soothing backdrop for the adventures as it unfolded. But a disappointment was the editing (Rabiranjan Maitra) that could have been more perfect. Same can be said of the animations that were quite good in isolation but when considering its fusion with the movie, it remains a bit childish. Make up and costume design is also another factor that required a more detailed attention as while the ghosts has been aptly attired and most of the characters were correctly clothed but Alankar’s appearance never projected the abject poverty that his family is subjected to as was Indra’s disguise that didn’t do justice to his intelligence. Debojyoti Mishra’s music provided a refreshing relief in the songs but somehow it felt a bit immaterial for the film. Another point of concern was the less cohesiveness between scenes that seemed contradictory given the length of the film. But keeping these aside, Haranath Chakroborty deserves praise for his efforts to make a film – that certainly promises a successful run – on the genre that is rarely considered to create serious impact.

- Anirban De


Theatre Platform’s outstanding performance with scripts of Bratya Basu

March 22, 2012 (Calcutta Tube): We at the moment will engage ourselves with a young group of Kolkata named Theatre Platform. Their two very recent productions – Khanjana Ami Ar Asbo Na and Samayjan both directed by Debashish Ray have simply mesmerized me. Both the plays have been written by Bratya Basu.  Between the two productions, KHANJANA is definitely a courageous work.

While talking about courage one may ask so many questions from theatre itself. Kallol, Tir (Little Theatre Group production) and Duswapner Nagari (PLT production) of Utpal Dutta, Rajrakta written by Mohit Chatterjee and directed by Bibhash Chakraborty (Theatre Workshop), Prabaha of Indrajit Sen (Charandal), Kolkatar Hamlet by Asit Bose (CPTA), Pashukhamar by ShaNoli Mitra and Arpita Ghosh (Pancham Boidik), Bratya Basu`s Rudhhasangit (Kalindi Bratyajan) and Winkle Twinkle (Sansriti, directed by Debesh Chatterjee) are some of the examples of courageous political theatre. On the other hand Shambhu Mitra and Bijon Bhattachariya`s Nabanna (IPTA) and Tagore`s Raktakarabi in Shambhu Mitra`s direction at Bahurupi have shown courage of different kind and thus they have revolutionized our theatre. Natyakarer Sandhane Chhati Charitra of Ajitesh Banerjee (Nandikar) in one hand and Bratya Bose`s  Ashalin (Ganakrishti) on the other were courageous of their own kind. If one opens this box of courage earnestly, then one can understand the variety of courage. And thus Theatre Platform`s Khanjana is courageous of another kind.

Very recently the Apple group has launched a backup utility named Time Machine which they sell as Time Capsule. Though Samayjan is the Bengali transcription of Time Machine, it has nothing to do with that Time Capsule. The concept of Samayjan has cropped up from Time Machine, the historical novel written by H.G. Wells in 1895.

This concept of H. G. Wells inspired a young man to build a time machine. To project the result of the machine director Debashish has taken rampant help of multimedia. As a result by intermingling of the interesting subject with the charming technicalities the director made some doll drum in the upper tier which we should consider as a room in the attic where the pretty girl friend (Mausumi Das) of the boy used to come time and again. Incidentally we had the opportunity to watch some close scenes of the then unmarried couple in that attic. The rest is excavated when at a critical juncture the boy shaking his girl friend with his both hands says, ’It matters very little whether we are brother and sister  or  whatever blab blab relations we might have, everything has happened between us, so why bother since we are at the point of no return!`

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The story deals with a nucleus family consisting of parents and their only son. The only son (Apurba Ghosh) stays at attic, the parents Bedanta Banerjee the father and Nandini Bhowmic the mother stay at the ground floor. Bedanta is crippled and lives on strict and timely medication. Nandini talks very little and engages herself almost as a mistress of her husband. Certain boredom has been introduced in their lifestyle deliberately by the director to establish the time machine effect of attic. Bedanta the father suddenly starts recollection.

In the attic, the couple starts playing with the home made Time Machine. Whatever they watch we too watch the same in a big screen. In the screen gradually time machine projects the past, so comes selectively the grandfather, father and past tense events of Apurba. But since time machine does not know to conceal the unwanted frames, everything flashes back irrespective of its color and flavor. The time machine thus reaches in a midnight coup of a running train and projects a copulating couple consisting of a ticket checker and a passenger. This scene startles the couple of the attic. Because they are their father and mother respectively.

Reaching the far end of his life Bedanta, the then ticket collector wants to confess everything before her legal better half. He starts explaining why after returning from duty on that auspicious day he declared his submission of resignation. Bedanta thus no more wants to keep Nandini under sheer darkness. But after proceeding a few steps Bedanta understands that, there is something wrong in the state of Denmark. He understands that Nandini knows everything. Actually that one night`s friend of Bedanta once wrote a letter to her one night`s bed partner giving no address of her and giving the news of birth of a girl child as a result. After reading Nandini did not hand over the same to Bedanta.

At last Bedanta rediscovers her one night`s fiancé in his sons fiancé as soon as the latter removes her specs. The young is simply a replica of the old. And eventually his son and daughter are going to marry each other. Using the time machine we watch a very strong pronunciation which still seems to be obscure in our consciences. Time machine has taken them a long leap forward.

Now to talk about acting, here comes Nandini Bhowmic in the foremost. Nandini is amazing at the moment. We are citing some of her very recent works.  In Hamlet directed by Bibhash Chakraborty she was Gartrude, the queen of Denmark and the mother of Hamlet too. Anya Theatre`s production Chaitali Rater Swapna is adopted from Shakespeare`s Mid Summer Night`s Dream. In this production directed by Abanti Chakraborty, Nandini played in the role of Queen of Athens in one hand and a mere dancer of fairy land on the other. In another recent work Parashpathar directed by Shyamal Chakraborty Nandini is a superfluous TV reporter. In Sagina Mahato directed by Parthopratim Deb, she played a role of a trade union oriented party woman named Gauri. And in Samayjan she is an old morbid house maker. She has here exhibited the capacity to unfurl the character gradually and gradually. Next comes Bedanta who is a mature actor. In his parent group Natadha, Bedanta is an organizer and regular actor too. In Samayjan hidden complications under a calm and quite character are nicely unfurled by Bedanta step by step. Bedanta and Nandini Bhowmic have built a reliable combination.

We will now jump over to Apurba and Mausumi. Since their development is based on science fiction,some sort of magic reality is hidden with their development and apparent disaster. We have enjoyed this couple sitting on the other side of the auditorium and got the flavor of their nascent youth all the time along with their agony and ecstasy as well. Now some jargons.

Theatre is not just a narration. Theatre means action, the action accomplished with geometrical arrangement which should have inherent balance. And its total effect is supposed to be lyrical. And this lyric will be illusive infatuating but not lock stock and barrel impractical. Whatever might be the theories of theatre introduced by Stanislavoski, Brecht, Mayarhold, Dario Fo, Harold Pinter and other theatre stalwarts, theatre in a nutshell is mathematically derived geometrically arranged some sort of illusive infatuation and never being impractical proposition of any kind.

We are talking all those in context of two short plays-  Samayjan  and  Khanjana Ami Ar Asbo Na. Both the plays are intermingled in their axis- the axis devoid of traditional thought process, the axis where physical association has given priority in a straight way or in a roundabout manner in woman-man relationship. And sex too has not been taken up in a conventional way. In Samayjan virtually the sex partners (who eventually will be life partner) are sister and brother. In Khanjana there are two faces of a woman. One who writes erotic sex based novels. And the other face is docile obedient very much conventional. Now let us jump over to  Khanjana.

A packet in one armpit and a book in another hand, a most unimpressive young guest gets in the house of a writer Sauren Sen whose book is in his armpit and the book is meant for an autograph of the writer himself. He is entertained by a lady with a blood stained chopper in one hand, putting on a golden colored house coat and introducing herself as the wife of the writer. And eventually she is Khanjana. After knowing that the man is fanatic admirer of Sauren Sen and has come to collect his autograph, Khnajana simply bursts into anger and starts chasing him with that chopper. The guest runs here and there to get rid of her. But Khanjana herself is unyielding, pertinacious. She runs here and there in the stage and recites from that book and after that snatching the book from the guest, Khanjana starts reading. The portions which she is reading or reciting are full of erotic descriptions of sex. Since the guest enjoys this writing Khanjana declares him as a pervert. She takes off her house coat and in shorts and shirt chases the guest ordering him to undress and to get fucked by her. The startled perturbed guest runs here and there to get rid of Khanjana, but in vain. She gets hold of him during this tassel and declares that with the chopper she has butchered her pervert husband and now after fucking him she will kill him too. At this crucial moment, in comes a man who introduces himself as Sauren Sen. As soon as he orders Khanjana to go inside, she moves away most obediently. Anyway having his most favorite writer so close the guest asks him to give an autograph. Sauren says that he is not the writer, using his name Khanjana writes all those books which are hot cakes in the book market. He then asks her wife to come and give an autograph. Gentle Khanjana comes clad with sari blouse etc and politely offers the autograph.

In this production, acting tuning is based on the theory of unity of opposites. Khanjana and the guest are just opposite characters apparently, but inherent they have unity. The books the guest adores are written by Khanjana in one hand and besides temporary shocking behave of Khanjana she is docile calm and quite as is the guest. Atanu Mitra is the guest and Nancy has played the role of Khanjana. The duet of Nancy and Atanu is simply outstanding, I`m overwhelmed. The complete opposite acting style of Nancy and Atanu has created something, which is as I said earlier, mathematically derived geometrically arranged some sort of illusive infatuation and never being impractical proposition of any kind. The credit for all these goes to the director Debashish Ray. In a short spell Ratan Das has done well as Sauren Sen.

The thought provoking stage craft of both the productions has been planned by the accomplished director Debashish Ray and made by Tinku. Jayanta Mukherjee has done well with light. Shubhadip Guha whom I will never ever forget for his outstanding performance in Hridmajhare of Nandikar, has done well here also. Make up has been nicely done by Ranjit Chakraborty. Dress has been planned by the great Nancy. Theatre Platform has a long way to go. Hats off Theatre Platform!

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- Pachu Ray

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