With Sujoy Ghosh’s short film ‘Ahalya‘ doing exceptionally well on youtube, many of you had asked for the script of the film. So here we are. Thanks to Sujoy, we are uploading the script of the short. Enjoy reading!
With Sujoy Ghosh’s short film ‘Ahalya‘ doing exceptionally well on youtube, many of you had asked for the script of the film. So here we are. Thanks to Sujoy, we are uploading the script of the short. Enjoy reading!
Since his commercial and critical hit Kahaani in 2012, Sujoy Ghosh has been missing in action. But here’s a pleasant surprise – he has directed a 14-minute short as part of Large Short Films.
Starring Soumitra Chatterjee, Tota Roy Chowdhury and Radhika Apte, this one is a smart spin on the story of Ahalya. Do watch.
If you didn’t notice, the names of the characters also gives you ample hit. And if you are still confused about the spin, click here to read the Ahalya’s story.
Since the last two years, FFI or Film Federation Of India has suddenly changed its stance. Earlier all the jury members used to be in the presser to announce the name of the film selected as India’s entry for the Oscars. Now, it’s all a big secret. And that’s quite baffling because nobody says why it’s a secret. More because none of the renowned film festival or prestigious film awards keeps its jury a secret. I can’t think of any. In fact, most take pride in announcing the names of their jury members. It becomes more important when a controversy like this happens – why can’t the members publicly endorse and fight for the film they picked to represent the country? I don’t have any answers.
So here’s the list of the 19 FFI jury members who picked “The Good Road”.
Filmmaker Rituparno Ghosh passed away earlier this year just after completing the shooting of his film on Byomkesh Bakshi. The makers have completed the film and it is ready for release. It’s based on “Chorabali” by Sharadindu Bandyopadhyay.
The film also marks the acting debut of filmmaker Sujoy Ghosh in the lead role of Byomkesh Bakshi.
Here is the first trailer of the film
Official synopsis – Maharaja Arunangshu, the ruler of a princely sate named Balabantpur, had made a wish list on his death bed in the presence of Dewan Chandrashekhar, the family physician Kaligati and the High Priest. It laid down certain conditions for his heir, his son Himangshu. The first of which forbade Himangshu from marrying a non Hindu girl, and the second demanded a legitimate heir within three years of his marriage. Bound by his father’s conditions of succession, Himangshu is compelled to marry Alaka, an aspiring actress.
A year and half into the marriage, Harinath, the young palace librarian disappears without any trace. This mystery occasions the arrival of the sleuth Byomkesh and his author friend Ajit to Balwantpur. The visit though is under the pretext of an invitation for a hunting expedition. In course of their stay, they unfold many secrets involving the residents of the palace and about the topography of Balwantpur.
Film : Satyanweshi.
Starring : Sujoy Ghosh, Aninda Chatterjee, Indraniel Sengupta, Arpita Chatterjee, Sanjoy Nag, Shibaji Bandhopadhyay, Anandi Ghosh
Producer : Shree Venkatesh Films
Presenter : Shrikant Mohta & Mahendra Soni
Direction : Rituparno Ghosh.
DOP : Avik Mukhopadhyay
Music : Debajyoti Mishra
Thanks to filmmaker Sujoy Ghosh, we had put out the script of Kahaani here. And here’s an interesting post by one of our readers Deepanjali B Sarkar where she compares the script with the film. And also keeps a check on the timeline – what happens where, at what time, and for how long. Over to her.
KAHAANI
I’ve now seen Kahaani several times, the last time with the script in hand, provided by this blog. Here are some rapid notes I made – mainly on the pacing and plot points (which is what makes it such a gripping film). Sharing it – in case others find it useful. Have listed the run time at which each plot point takes place.
So here goes
By the way – had a question here. Did her husband actually stay here? Or how did she know of the decorative piece, the peacock? If he didn’t why this hotel in particular? Because it didn’t keep any records of its guests?
But why will Bhaskaran approach Bajpayee when he himself is the kingpin of the entire operation?
Rana’s attraction to Vidya grows (proximity as she bends over him to look at computer records)
• Scene 187: 3 mins – Denouement 1.50 hrs: Arnab’s school is actually Bishnu’s school; she used to regularly dust her room; She never signed – first time at police station when she was asked to sign missing report, she fainted; at Mona Lisa hotel she refused to sign because register was tattered; She killed Sriharan before IB could get to him; She knew as Khan himself would say, no one would suspect a pregnant woman searching for her missing husband
• Scene 190: Flashbacks. Pyrrhic victory: Vidya realises she had truly started believing she was pregnant and that she would find her husband. 1.53 hrs
• Scenes 191 – 193: Bhaskaran arrested. 1.56 hrs
Notes:
• Scenes 84 – 87: Deleted
– Vidya meets Rana at his home. This scene is replaced by a scene in front of Kalighat Police station. Vidya sees women in red border sarees going to Kalighat temple and remembers her conversation with Arnab.
– The change of location works – more colour. Also, home would have been too intimate. Would have struck a wrong note – why should Vidya visit him at his home?
IMPORTANT: missing from script – Rana says Milan Damji does not exist. He is just a kahaani
And some additional notes I made
(For more posts by Deepanjali, you can check her blog here)
Abhishek Kapoor’s new film Kai Po Che has released today. The reviews so far have been unanimously positive. But does it mean anything beyond that – The Big picture? Over to filmmaker Hansal Mehta who connects the dots.
4 reasons for not watching the increasing number of films released every week –
The past few weeks have been different though. The spate of films released and due for release stared at me in the face because
I am going to limit my post to the Hindi films I saw because in the case of foreign films:
In the past few years, most significantly 2012, I am seeing a pattern in films that are successful (relatively) and appreciated. A majority of them stand out for their choice of actors, their choice of subject, their non-formulaic narratives and a host of other similarly intellectually stimulating reasons. One factor that has begun to increasingly stand out in these films is sheer audacity. The more I think about what drew me to watch the films, to like some of them, to dislike some of them and to find some of them memorable was the lack of apologetic film-making that has mostly led our films towards pathetic levels of mediocrity.
I’ve noticed that many film-makers no longer feel pressured to make the same formulaic nonsense with the same boring people over and over again. Many of the older directors also seem to realize the futility of formula and are trying hard to reinvent. Those who aren’t will soon be history.
Ever since I made Shahid, I’ve been asked over and over again about how the trend of biopics is on the increase. The media unfortunately reads trends very poorly and looks for convenient analysis. Trade pundits who have in the past thrived upon silly generalization are very shallow in their understanding of artistic/creative decisions taken by film-makers or in analyzing the success of films that don’t fall into their formulaic comfort zones. The truth is that book adaptations, biopics and stories inspired by true events are an indicator and not trends in themselves. We now have film-makers looking for newer stories to tell. We have film-makers looking for new ways to tell stories. We have film-makers who are fearless. We have film-makers who are not afraid of audacity.
Whether it is Talaash, Gangs of Wasseypur, Ek Main Aur Ekk Tu, Vicky Donor, Special 26 or Kai Po Che, I notice a fearless streak in the directors and the team that has made these films possible. Even potboilers like Dabangg, or before that Wanted, or the recently released ABCD have displayed a certain audacious vision. Rockstar had the audacity to be deeply philosophical and sometimes mendering while pretending to have commercial trappings. A certain Anurag Kashyap whose films either got banned or termed as jinxed is now celebrated because of his delightfully indulgent Gangs of Wasseypur or his subversive take on Devdas. Sujoy Ghosh redeemed himself with the surprising Kahaani. Tigmanshu Dhulia’s Pan Singh Tomar was commercially successful. English Vinglish marked the successful return of a Bollywood diva who churned out some of the most cringe-worthy films of my growing up years. The list could be exhaustive and I’m sure it will soon dominate successful box-office lists. On the other hand there has been a steady increase in films (Ship of Theseus, Miss Lovely, Peddlers etc.) that have found appreciative audiences in international film festivals and critics. These films have shown a fierce independence in their making while giving alternate Indian cinema a new lease of life and an unpretentious, fresh form of expression. They have been audacious in their abandonment of what we perceived as ‘art-house’ or ‘parallel’ cinema in India. They were unabashed in their treatment, style, narratives and expression. These and many other films that I have viewed over the past year and this year have challenged audiences, provoked critics and subverted formulaic convention with amazing audacity. Even more encouraging is the fact that producers, actors (including some stars) and trade have begun to embrace the audacious breed, backing them to the hilt.
So what is the point I’m trying to make? It’s simple. Audacity is in. Safe is not safe anymore. Take the second installment of Dabangg. It disappointed because it succumbed to ‘ingredientization’ and failed to live up to the fearless audacity of the first part. Films like ‘Zila Ghaziabad’ or ‘Jayantabhai Ki Love Story’ are passé. They will continue to get made. They will continue to remind us of everything that is unimaginative and about how we have allowed ourselves to be taken for granted all these years.
So here is my two bit gyaan. Whether you aim for the mainstream or the alternate space, make it audacious. Just making it big will soon cease to work – neither for the makers or the audience. Yes, we will have regular installments of successful franchises. We will have ridiculous remakes. We will have mindless, story-less films – but my guess is that all of them will work for their audacity and not for their adherence to convention.
Audacious will soon be safe. Safe is already dangerous. It could soon be suicidal.
Sujoy Ghosh‘s Kahaani was easily one of the best reviewed films of the year. Also, a rare Hindi film with a female character in the lead, and that too a pregnant one. And the best part – it proved the trade pundits wrong by scoring a big number at the box office.
Unlike most Bollywood directors who run away or go into hiding once their film has released, Sujoy happily took all the criticism and presented his side of the story when we met him post-release. I hope more directors will learn how to talk post-release and not just pre-release.
Since we don’t have any culture of “script database” in this country (and some like VVC want to make money out of it! Remember 3 Idiots? ), we have been trying to put as many scripts online as we can. So Dear Bollywood, make money from films and share the script! Learn from the greatest filmmakers of the world. Nobody has lost anything by sharing knowledge. Forget the masterclasses, this is the least you can do.
And thanks to Sujoy again for sharing the script of Kahaani with us. This one is very early draft and has been improved upon many fold by adding and deleting many scenes. Once you read it, you will get to know.
The script shared here is only for educational purpose and is a completely non-commercial initiative.
(PS – If you missed it earlier, click here for the notes on origin of Kahaani’s Bob Biswas)
Continuing with our initiative to get directors to open up about their films after the film has released, this time we decided to stalk Kahaani’s director Sujoy Ghosh. And he was happy to accommodate us. In twitter language, our intention was to #AttackSujoyG, but everything changed when we reached his office.
Sujoy had fever, looked almost dead and there were tablets and syrup on his table. How can you attack a man in such a state? Plus, Hangla’s biryani and rolls make us go soft. But we decided that let’s record the conversation. And then just after first few minutes of recording, a filmy twist happened – Sujoy’s non-stop hiccups. We paused and re-started again after some 20-25mins. And by that time Sujoy was getting late for another meeting, so we quickly squeezed in whatever we could.
In the video, we discuss reviews, origin of the film, audience ko kya chahiye, dhokabaaz flashback, promo vs film, Bengali characters talking in Hindi, six writers – how does it work, spontaneous school of acting, Aditya Chopra and making it commercial (YRF was suppose to produce it), another cheating – text on screen & Darshan Zariwala’s designation, life versus cinema, cinematography & shooting style, working with a new team, binito Bob, IB so blind, why the informer, Ray’s cinema – running hot water and other homage, life after big flops, copying from films including Chura Liya Hai Tumne, what’s next – Aranyer Din Ratri and Jhankaar Beats, life at 46 and his love for “Sir” Amitabh Bachchan.
Have fun. But DON’T WATCH it if you still haven’t seen it – has SPOILERS.
If you didn’t like the discussion, the culprits are – @Navjotalive, @Damoviemaniac, @SumitPurohit, @MihirMakesMovies and @CilemaSnob.
Video and edit – Sumit Purohit.
Thanks to Sujoy for his time. And now that Bob Biswas has become such a famous character inspiring some great art work (here & here, and funny observation) here’s something more – the origin of Bob Biswas.
If you have been a regular follower of this blog, you surely know about Subrat. If not, you can read some of his old posts here, here, here and here. So as we all discussed Kahaani, we realised there’s more to it. And who better than our favourite Prof. Saab to do the dissection. Was it just “if you can’t convince them, confuse them”? Or was there more?
Read on, scratch your head and do put your comments. And read only if you have seen the film. Otherwise it wouldn’t make sense. SPOILER ALERT – DON’T GO AHEAD if you haven’t seen it yet. Go and watch the film and do come back. It will be fun!
It is a rare film that receives both critical acclaim and box office success. Kahaani seems to have managed that. The central cast and the editing have earned well deserved praise. Kolkata has been lovingly shot and, as many reviews have noted, is almost a character in the film. A lot of people have called it a taut thriller. This is where our paths diverge. For me, Kahaani is as much a taut thriller as Golmaal – 2 is a cerebral comedy. I admit it was nicely paced but a taut thriller has to satisfy a more fundamental criteria – the plot should make sense. It didn’t make the cut for me. I have watched it only once and I am ready to admit I might be wrong on this. I guess the best course of action is to put my reservations on the plot here and seek your responses. I have left out a couple of issues that have been discussed on other blogs which bothered me as well; namely, Vidya’s recollections of her husband had Milan Damji and the fact that Vidya was introduced as Vidya Venkatesan Bagchi at the start of the film. I can live with these as I did with such chicanery in that other ‘taut thriller’ A Wednesday.
1. Please help me explain the motive of Bhaskaran (Dhritimaan), the IB Chief. He was complicit with Milan Damji or may have even been the kingpin. Why did he then send Khan (Nawaz) immediately to Kolkata the moment he heard someone enquiring about Milan Damji? Nawaz is portrayed as a competent officer and wasn’t complicit. So, why was he digging his own grave by sending him over there? Instead, he should have been trying to provide as little help to anyone trying to enquire about Milan Damji.
2. Why did Bhaskaran approach Darshan Zariwala (the retired IB officer who had trained Milan) and ask him to come back to IB to nab Milan? Not satisfied with #1, he wants another of his good officers back to get hold of Milan Damji. Don’t tell me he was keeping up the appearances so that no one suspects him. This man seems to be suicidal.
3. What kind of investigation had Nawaz done the first time around? He hadn’t even spoken to Agnes (the HR lady of National Data Centre). Had he done so, he would have found the dusty file of Milan in that old, abandoned office and his address long ago. Didn’t Darshan Zariwala know anything about Milan while training him to help Nawaz in his investigations? I mean before Milan turned against the system, the IB should have had a good idea of where in Kolkata was he staying etc. Also, why was Milan Damji working in National Data Centre under his real name?
4. After hacking Shridhar’s computer and copying all the files, the only file that seemed odd was the file that Bhaskaran’s number stored (ha ha) cryptically. This file had Bhaskaran’s number in an alphabet code. Shridhar could have stored Bhaskaran’s number in his own phone and named it ‘chimpu’ for all I care. And, what’s wrong with Shridhar having Bhaskaran’s number. After all, the IB seemed to have been sending their officers to NDC quite frequently and it’s normal for Shridhar to have known Bhaskaran. So, how did Nawaz conclude only the basis of that stupid cryptic code that his boss is the brains behind it all? And, that moment when Nawaz dials that number and find ‘Bhaskaran Old’ flashing on the mobile screen was classic. It was that ‘Sirjee’ moment of Kaho Na Pyaar Hai (another ‘taut thriller’?)
5. Didn’t Nawaz keep his boss in the loop during his stay in Kolkata? Then, Bhaskaran would have known that Nawaz is now using a pregnant woman to get to Milan Damji and eventually to him.
6. Why was that HR lady who replaced Agnes so happy to help Vidya and Rana in sneaking into Shridhar’s cabin? She knew the previous incumbent (Agnes) was shot dead after trying to help Vidya. Another suicidal character? And, what kind of a IB haunt is the NDC where there is a lone guard at the entrance while there’s a rear exit unguarded?
7. Why did Vidya kill Shridhar? It was made to appear she did it deliberately so that he wouldn’t be interrogated by the IB directly. But, Vidya and Rana were originally planning to hack into the computer, steal the data and scoot. In which case Shridhar would have lived and Rana (who was working for Nawaz) who would have asked Nawaz to pick him up for interrogation. It was Shridhar who had made sure he would get a message in case someone hacked into his system. This led him back to his office and then to chase Vidya and Rana. It was a convenient thing to show that Vidya planned on killing him when she had no control on Shridhar chasing them after they had hacked into the system.
8. How was Bhaskaran convinced that Vidya had gotten some files from Shridhar’s computer that would lead her to Milan and eventually to him? Why would then Milan come for collecting those files?
9. Why did Bob Biswas kill Agnes? She knew nothing and all she would have gotten is an old file of Milan Damji that would have shown to Vidya that Milan looked like Arnab Bagchi (which she knew) or Milan’s address in Kolkata. In any case, if Bhaskaran was the one ordering the hit (through Shridhar) they should have known there’s hardly anything more Agnes would know about Milan (after all, Shridhar worked in NDC) so what was the point in shooting her. Also, didn’t Shridhar know that there were old employee records that might have Milan’s document in them? It seemed silly not to get hold of it when they were covering Milan’s tracks
I can go on with a few more. May be you have the answers. May be we should all make leaps of imagination to bring credibility to the plot. May be I should watch Kahaani again. May be, one day, we will make a genuine taut thriller.