Feluda director Sandip Ray talks about his venture Chaar which captures four different time zones in the same space and states that the fourth story has a supernatural effect to it with the ghost being scary rather than amusing
Sandip, who had also stringed a story of his maestro father in the four-pronged film, told a popular news agency, “I am experimenting with this form where there is no apparent connectivity.”
“While three of the stories belong to differing phases of time, the fourth one has supernatural effect written all over it. And this ghost scares you, doesn’t amuse you,” Sandip, who affirmed having made Chaar, post-success of the three-story ensemble Jekhane Bhooter Bhoy.
Chaar can be called a ‘salute’ to the 40s’, 50s’ and 60s Bangla films which largely drew on literature and “We also contemporized the Saradindu (Mukhopadhyay’s) works like Bateswar a bit,” Sandip, who had made films like Hitlist starring Koel Mallick.
In Pratiksha, which refers to the 40s era, we have introduced the mixed dissolve technique casting Abir (Chatterjee) and Koel and it appears soothing for eyes. You have to use the technique keeping in mind the tone and tenor of the film. And Abir had to be cast here for his innate Bengaliness,” Samdip said.
“When you find the periodicity of a city lying within itself, you just go with the flow to recreate the old world look. And B&W helps. The grains have been enhanced and hand held camera used as much possible;e, Ray Senior’s companion to most shoots and himself an acclaimed photographer, said.
“In Badshahi Angti also a large part of Lucknow matched father’s description in those days and Lucknow’s historicity as an heritage city helped us a lot,” Sansdip said about the other Shri Venkatesh film, based on popular fictional sleuth Feluda’s journey to the Hindi heartland.