Kala an armed, Ex-soldier arrives in a remote town in search of answers about his past. He becomes the focus of a rivalry between the two most powerful men in town. Chairman, a populist, ...
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Kala an armed, Ex-soldier arrives in a remote town in search of answers about his past. He becomes the focus of a rivalry between the two most powerful men in town. Chairman, a populist, Muslim politician and Thakur, an elderly, wealthy Hindu landowner. Kala and his rifle could tip the balance of power one way or the other. Who will Kala side with? Will he find his father? Will he discover who raped and murdered his mother? Will he have his revenge?Written by
Thakur's home in the film was a real semi-derelict mansion of a Maharajah near Daulatpur. Around 400 people were living in it. The film maker's employed some of them as extras and installed bathrooms and toilets for the people in return for being allowed to film there. See more »
A must-see movie
This is an awesome movie. All of the nonsense and kitschness of Indian cinema is absent in this Bangladeshi masterpiece: no songs, no OTT costumes and no ridiculous love themes. It owes a lot to the old Kurosawa movies Sanjuro and Yojimbo, from which it draws considerable inspiration. The use of the tea house as a plot device holding the narrative together is just short of genius, and very tasteful, reminding one of the old-time classics of Indian cinema and bringing a sense of the culture of the place.
Unfortunately certain things, probably best left to the imagination, are left unclear by the end of the movie. However, the Tao is clearly a central theme: one of the main protagonists asks a tea boy whether he is a truly evil man, and clearly the viewer is meant to consider this difficult question. It also deals with the difficult matter of the modernisation of south Asia, and handles the conflict between traditionalism and modernisation quite skilfully. Tradition and modernity blend together, and by the end one has the impression that the old ways to a considerable extent underpin the forces behind what appears to be new, unwelcome and alien.
This movie will stand the test of time much better than the expensive and overly self-conscious pseudo-epics such as Jodhaa Akbar, Asoka and Kshatriya. My one criticism is that it does seem to be rather clumsy when dealing with Hindu-Muslim tension, and turns out being rather one-sided, exalting one side rather unrealistically. Or perhaps this is better seen as a class war than a religious tension: the Thakur lord versus the Muslim man of the people. The director leaves this distinction up to the viewer to a limited extent.
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