Byomkesh Hotyamancha review: Abir Chatterjee brings back Byomkesh nostalgia in a whodunit devoid of thrill

3.5/5

Story: Decades before Broadway theatre in Midtown Manhattan, New York City, and London’s West End became a ‘thing’ in this part of the world, the city used to have its own Broadway-esque theatre avenue around Hatibagan, an area north of the city centre. In the ’60s and ’70s, the professional theatre scene in the city reached its pinnacle with hundreds of housefull shows, superhit productions and glamorous star cast minting money. From Uttam Kumar to Sabitri Chattopadhyay and Soumitra Chatterjee – top actors and actresses of the Bengali film industry performed at our very own Hatibagan Broadway. Byomkesh Hotyamancha is set against this backdrop.

The film is based on Sharadindu Bandyopadhyay’s incomplete work, Bishupal Bodh. The last Byomkesh story, which could not be completed by the writer owing to his unfortunate death, was Bishupal Bodh in 1970. Bishu Pal (Kinjal Nanda) – a popular theatre personality – gets killed right on stage while performing Keechak Badh at Gandharba Theatre in Hatibagan, right in front of Byomkesh (Abir Chatterjee). The sleuth has been enjoying the show with his wife Satyabati (Sohini Sarkar), assistant Ajit (Suhotra Mukhopadhyay), and friend and neighbour Pratulbabu (Padmanabha Dasgupta). Byomkesh takes up the case and brings out truths that have so far been hiding in the closet.

Review: For the first time, the audience of this Byomkesh film has no idea who the murderer really is. Sharadindu’s incomplete work has been developed into a full-blown murder mystery by director Arindam and scriptwriter Padmanabha. Byomkesh Hotyamancha is a well-scripted murder mystery. The writers have designed a solid motive and borrowed the quark in the method of the murder from Sharadindu’s unique style.

What the film lacks, however, is the thrill factor and the magic of outdoor locations. The film is neither too fast, nor too slow. It flows smoothly without many surprises. Barring the theatre sequences, there is no odd and high-pitched drama. The theatre sequences are loud and different from the rest of the film.

Byomkesh Hotyamancha has many characters and the main characters develop in a steady progression. There is love, lust, jealousy, betrayal, revenge and greed like most of the whodunits. This is a whodunit where the director's concerns have shifted towards the deep and complex motives of human psychology. The links and interpersonal relationships between the characters are very believable.

However, the filmmaker is not interested in making the social or political context quite convincing. The representation of the Naxal Movement (even Freedom Movement) on-screen follows very stereotypical tropes of serpentine alleys, a couple of rallies of 20-odd people sloganeering with placards and a little bit of bombing and firing. The social commentary, including the lectures on Bengali mediocrity in arts and culture, seems totally pointless, imposed and unnecessary. However, the connection of the Naxal Movement with Team Keechak Badh seems interesting.

Abir and Sohini as Byomkesh and Satyabati are pros in their characters. Byomkesh has greys and Satyabati is pregnant in the film. Evidently, they have seen a lot more of the world than before. Their chemistry, despite the hiatus of four years, remains intact. The duo has a new Ajit, Suhotra Mukhopadhyay – a popular face on Hoichoi. There is a sense of a rooted relationship between the two, which elevates Ajit from the status of the customary satellite. Arna plays Brajadulal (Bheem, in the play). He, along with Kinjal, Loknath Dey and some others, are professional theatre artistes and together they stage a good show.

Paoli’s portrayal of the complex Sulochana is a treat to watch. Sulochona is nuanced and attractive as the lead actress of a hit theatre show. She has her heartbreaks but does not shy away from chasing her passion. And Paoli plays it with elan.

Another high point is Anusha Viswanathan as Somaria. She plays a passion-driven, ambitious budding actress, who doesn’t mind a little compromise in life. Her dialect, fear and smartness look real.

Verdict: Byomkesh Hotyamancha lacks the sheen of the previous three films. This is also because the film is confined to Kolkata and we don’t get to see much of it. Recreating ’70s Kolkata’s landscape is, of course, too ambitious a project. However, it brings back the period through its music, props and costume. Moreover, it is a Byomkesh film and it cannot ever be boring. It is a good time pass and definitely worth a watch.