If Anirban Bhattacharya did not ask me to see it, I may have missed a rather daring and highly interesting take on Saradindu Bandopadhyay’s Chiriakhana on Hoichoi, in four parts. It’s called Byomkesh O Pinjrapol. It’s a must-watch for all those who actually care for Byomkesh not because he has become popular on film, TV or OTT but because it’s actually the most complex and interesting detective fiction that has stood the test of interpretations.

Satyajit Ray in 1967 interpreted Chiriakhana with Uttam Kumar and did an outstanding take. It was followed by a disaster by Manju Dey. Then some very interesting, rather nostalgic Hindi versions by Basu Chatterjee on Doordarshan. Then again disasters on Bengali TV till it was forgotten. Years later, I bought the rights to four stories, and waited for a year to get finance for films, having selected a somewhat newcomer called Abir Chatterjee. Then started the franchise in 2009 with a Rs 45-lakh film on celluloid based on Adim Ripu. It rocked the box office. After Abir left to become Feluda after three films, I managed to start again with Jisshu Sengupta and the second film with him as Byomkesh was based on Chiriakhana. Despite Ray’s history with the same story, Byomkesh O Chiriakhana managed to swim. Then too many folks jumped onto the bandwagon. TV serials. Films. I finally said goodbye to Byomkesh with my version of Agniban… I went on to write my own detective fiction, Danny Detective INC for Days Publishing and ended up filming my first one with Suprobhat Das which is still running.

The reason, behind this brief history, is that I have a very strong connection with Byomkesh with whom I have severed my professional relationship. Too many non-detective fiction lovers have screwed up this dhoti-clad, period detective for quick box office attention. I have no qualms in saying that my very favourite director Dibakar Banerjee too has tried to adapt him into the historically great genre called “pulp” and lost since Byomkesh is simply too classically noir. The only Byomkesh I actually liked, apart from that of Uttam Kumar and my selections, was that performed by Anirban Bhattacharya for Hoichoi, directed by Sayantan Ghosal years ago. I wrote about it too.

Now, the question may be, why Anirban? The answer is simple. Anirban manages to bring out the old world, period, domesticated yet highly sharp, intelligent Bengali dick that Byomkesh is. Yet, very personally, there was a tad too much of domesticity with his concern for Satyabati, which most makers fall into. It’s a trap created by Saradindu himself.

I feel extremely elated that Byomkesh O Pinjrapol does not fall into this trap. Anirban scores a century by being the self-centred Byomkesh that he should be. The four-part series comes alive with intelligent suspense and the highly complex, adult Byomkesh story that it should be.

The problem with Chiriakhana is that it’s the most exciting story of Byomkesh (along with Rokter Daag, Benishsonghar and Mognomoinak). For anyone making another version of Chiriakhana after Ray is difficult. I decided to not change whatever Ray did of the original story and change whatever he did not. It worked.

The greatest strength of Hoichoi’s version of Byomkesh O Pinjaropol is that the screenplay writer Pratik Dutta changes much of the story without disturbing the main pillars. So, you get to see a completely new version of the Golap Colony and its ex-criminal inmates in a completely refreshing way. One actually doesn’t miss the world of cinema and plastic surgery, since the series focuses on the actual sin and complex relationships.

Instead of a colony surrounded by nature, it’s a stony mansion. The location becomes almost like a prison with repeated use of the old elevator with the iron collapsible door. Therefore, all the ex-criminals having spent their jail time, appear to be still behind bars in an otherwise NGO. Bonolaxmi, Bhujanga doctor, Nepal Gupta, Brojodas, Mukul, Panugopal, Mushkil Mia, Najar Bibi, Damyanti… are actually all stuck in their past. They cannot shed their animal instincts. Therefore the title Pinjrapol (animal jail) works.

Anirban

That the director Sudipto Roy, does not shoot in the exterior much, actually enhances the tension and strength of a chamber detective drama that Byomkesh actually is. The occasional shot of a plane flying overhead or the damaged car dump really works in making it evident that “there is no escape”. Those who decided or still decide to make Byomkesh an exterior extravaganza must see this and realise that you cannot fool around with plots that are essentially chamber detective fiction. Much of it happens within walls that are eerie, not sound proof and basically closed and therefore lethally dangerous.

I, having loved the fantastic noir ending of the original story, almost felt jealous of this ending, where the criminal lovers are dead entangled in bed. It’s by far the best climax of Chiriakhana, which is actually about nemesis.

That the writer, director and creative producer Anirban himself decide to bring in the question of democracy and the first election of the Indian Republic actually heightens the question of who is the true inheritor of our democracy. The people who misuse their freedom or those who, like Byomkesh, value it more than truth? The best-written scene of all Byomkesh interpretations, where Bhujanga questions Byomkesh’s rights on deciding who and what is illegal or wrong, is simply mind-blowing.

Now, I say this keeping in mind what Saradindu thought about his criminals and why Byomkesh decides to not arrest Provat (Adim Ripu) or the taxi driver (Kohen Kobi Kalidas) or even why Byomkesh fails to arrest the killer in Chitrachor or Durga Rohoshyo. It’s rather tricky to actually interpret Byomkesh like Sherlock Holmes or Feluda. It’s a disaster which Pinjrapol avoided with flamboyance. Here is a detective who seeks the truth and catches the killer. Yet, there is a social comment. Why is Byomkesh not just a detective?

The best achievement of Sudipto Roy is his rejection of a finale with a round table exposition. Both Ray and I did that. It was valid then. Here, the finale is far more cinematic. Byomkesh knows it all. The criminals have no choice but die.

The cold, bleach bypass look and the static compositions by cinematographer Ayan Sil heighten the inner tension of the twisted minds. The editing could have been a bit snappy to avoid certain empty moments. Bhaswar Chatterjee’s Ajit fails to provide the witty counterpart to the panache of Byomkesh. Ridhima as Satyabati has improved a great deal. I was rather surprised by Durbar Sharma’s Bhujanga. The same goes for Soumik Maitra who is perfect for Bijoy. Sushovon Guha’s Nepal Gupta fails miserably against all others who perform rather coldly. Babu Dutta Roy’s Nishanath and Anushka Chakraborty’s Bonolaxmi manage to float. The best among the women is Dwipanita Sarkar as Najar Bibi.

Apart from the script, direction and all else, the one who storms is Anirban Bhattacharya as Byomkesh. His bowel problem, so well acted and incorporated, makes it a relish to watch the series. Unlike many other Byomkesh, here he appears much less. Yet, when he does, it’s sheer joy. Who said that the detective has to be dhoti clad? Perhaps bored with the dhoti and too much dialogue, the actor decides to play him slightly quirky. Anirban, in complete control over his actor’s self, appears in trousers and shirt in almost every scene. The constant bowel problem gives him a refreshing edge. He rules by his fingers tapping on his own knee or the sudden mood swings. The sequence where he lashes out at Ajit and blames him for the murder of Panugopal is outstanding.

I invite all lovers of Byomkesh to see this to test their love for the iconic character and the stories. Those who have read and re-read the stories and believe in cinematic experience will surely love it. Those who like him cause it’s a fad, will get to see the hidden lethalness and sexuality in Saradindu Babu’s stories. Those who are actually bored with an overdone Byomkesh will definitely enjoy it. A valid detective film or series actually happens in the mind.