Hindi Byomkesh Bakshi Series Of The
Directed by Dibakar Banerjee, the film is set in the Second World War torn Calcutta during the 1940s and follows the first adventure of Byomkesh Bakshy (Sushant Singh Rajput), fresh out of college, as he pits himself against an evil genius who is out to Cast: Rishi Kapoor, Naseeruddin Shah, Kimi Katkar & Denny DenzongpaDetective Byomkesh Bakshy 2015 Full Hindi Movie Download 720p 480p BRRip HD. Story Line: CALCUTTA 1943 A WAR A MYSTERY and A DETECTIVE Detective Byomkesh.13. Detective Byomkesh Bakshi (2015) Based on the famous Indian TV series of the same name, it stars the young and handsome Sushant Singh Rajput.
Hindi Byomkesh Bakshi Movie Detective Byomkesh
He gets his first case as a detective when the father of Dibakar Banerjee disappears without a trace.Detective Byomkesh Bakshy (Detective Byomkesh Bakshi) Story Read complete story of Sushant Singh Rajput's movie Detective Byomkesh Bakshy, Detective Byomkesh Bakshy review and preview. Ravi is on a business-cum-romantic holiday with his wife Anita in Nepal. On returning from a business conference he realises Anita is missing.
Dibakar Banerjee belongs to a pantheon of new-age Hindi film directors who have introduced Hindi film audiences to narratives that have broken the conventional expectations for celebrity driven, larger-than-life sagas. A woman identifies herself as Anita but Ravi refuses to accept her as his wife. He stands his ground and tries to prove that this woman is an imposter. Unfortunately for Ravi, everyone around him including their veterinarian and laundry man recognise this woman as Anita.
Even the great Satyajit Ray adapted the detective and his stories for celluloid, so it was going to be interesting to see what Banerjee would bring to the table with his adaptation. Banerjee gives the fictional detective a noir makeover and in doing so, has created a film that is so radical in thought and execution – so unlike anything seen before – that it’s bound to go down as one of the landmark moments in the history of Hindi cinema and will change the way directors and audiences will treat noir on the big screen in Hindi films in the future.You might think I’m exaggerating a little bit, but let me put this in perspective. In other words, the future of Hindi cinema in great hands.The character of Byomkesh Bakshi (the film spells Bakshi with the phonetic ‘y’ as opposed to the accepted ‘i’) is extremely popular in Bengali literature and the fictional detective captured the imagination of Indian readers ever since he first appeared in print back in 1932, created by Sharadindu Bandyopadhyay. They’ve also been responsible for familiarising us with acting talents that would otherwise not fit the traditional ‘hero’ image on the screen – the emergence of Nawazuddin Siddiqui post his partnership with Anurag Kashyap and the release of Gangs of Wasseypur is a prime example.
Hence, the success of films such as Teesri Manzil (1966) & Jewel Thief (1967) gave rise to a peculiar infusion of noir elements and conventional Hindi film narrative expectations and resulted in a genre in itself, what could be termed as ‘Indian film noir’. However, Hindi film-makers have historically found more success by selectively using noir elements – such as the femme fatale – and infusing them with conventional Hindi film sensibilities that pandered to the expectations of the domestic audience. The visionary Guru Dutt was a great exponent of using noir filming techniques to create dramatic tension and play with point of view (such as in his film Baazi, 1951).
Byomkesh Bakshi is very much a by-product of his social context and often succeeds because of it, rather than in spite of it.The narrative of the film is simple but extremely effective. This is not to say that Holmes is not intuitive or Bakshi is averse to science, rather an indication of how both these sleuths might approach the same problem prima facie. In that sense, Bakshi is the anti-thesis of Holmes: Holmes relies on the scientific method for his deductions and inductions whereas Bakshi is a keen student of human psychology. He relies more on interrogation techniques and a nuanced understanding of social etiquette, hierarchy and class structures to draw conclusions from the facts in front of him. Intuitively, Bakshi seems to be a character perfectly suited to noir.
However, it’s his fallibilism that drives the dramatic tension of the narrative, making him human as opposed to an oft-reduced ‘genius detective’ trope. And quite naturally, Bakshi makes mistakes, many of them. The lack of certainty of the protagonist in his own actions keeps the audience on edge. This propensity towards fallibilism also aligns neatly with the conventions of noir. Banerjee introduces us to a ‘young’ Bakshi, one who is still raw and is picking up the tricks of the trade.
In Indian cinema, playback recorded songs that are lip-synced by actors are the major attraction in terms of music, as opposed to instrumental compositions and scores. It’s the ‘definitive next-door stoner album’ and I never thought I’d be using such a description non-ironically. The visual aesthetic of the time period is perhaps the most effective tool through which the noir sensibilities come forth on screen much like the aesthetic of China that was so mesmerisingly captured in another recent noir film, Diao Yinan’s Black Coal, Thin Ice (2014).Another highlight is the soundtrack, which is perhaps the most eclectic and unique mix of psychedelic rock, jazz and metal influences unlike anything heard in Hindi cinema before. Banerjee’s vision and Greek cinematographer Nikos Andritsakis’s cinematography combine to recreate a powerful portrait of the social complexities of Calcutta. Bakshi has to function in a chaotic world – the state of Bengal torn apart by World War II, radicalised youth, the last gasp of the British Raj trying desperately to hold on to its power and hierarchical status, an impending attack by the Japanese army on the ports of Bengal and a flourishing drug trade run by Chinese mafia.The real winner here however, is how Calcutta and the state of Bengal in the 1940s come alive on screen in the midst of all these competing influences that are at play.
Most importantly, he wins you over with the humanisation of a larger-than-life fictional character. Sushant Singh Rajput as the titular detective suitably underplays his role and is able to convincingly balance fallibilism with sparks of intellectual voracity. Mark Bennington as Deputy Commissioner Wilkie holds his own in a decent role, so does Takanori Kikuchi who plays Dr Watanabe.The main cast is impressive and holds the dynamism of the plot threads together, guiding the audience through the chaotic and volatile landscape.
It’s great to see Kabi having so much fun in a delightfully deceptive role after getting recognition for his breakthrough performance in Anand Gandhi’s indie film Ship of Theseus (2013).I’m almost willing to forgive the final ten minutes of theatrical excess which blatantly act as a placeholder for a sequel. His portrayal of the ambiguous antagonist – which swings from a mentor figure to a worthy adversary to a theatrical but deranged narcissist, elevates the narrative stakes to another level. However, the best performance undoubtedly comes from Neeraj Kabi.
Whether the Indian audience be able to accept such radicalisation is another question altogether. Detective Byomkesh Bakshy! is a brave, unconventional and thoroughly entertaining attempt at noir and in the process becomes a landmark moment for Hindi cinema.
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