Khakee: The Bengal Chapter...A Tangy Jhalmuri!

Web series Khakee: The Bihar Chapter (2022) was inspired by a non-fiction book that police officer Amit Lodha wrote in 2018. It received mostly positive responses. Its makers have added another chapter to it that began streaming on Netflix last week. Khakee: The Bengal Chapter is a fictional story in the same genre. 

It is a tangy jhalmuri served to discerning viewers who already know what to expect from a Neeraj Pandey offering. Along with the bevy of talented actors, Kolkata plays a major role in the series in the form of its stunning visuals and characteristic ambience. Competent actors, fast-paced narration and technologically excellent production kept me hooked on to the story, even though I did not relate much to the characters in the first two episodes. Later, I got a better hold on the story.

The series focuses on the nexus between politicians, police, business persons and underworld. The plot is full of twists and turns building up to the climax in the seventh episode. Fickle relationships, shifting loyalties, greed and betrayal play havoc in the lives of characters that form the main framework of this tale. Every time there was gore and graphic violence on the screen, I turned my face away. And I had to do this many times! I wish they had gone easy on this. 

The performances by all the actors are top class. Parambrata Chatterjee, the lovable cop from "Kahaani" is adorable again in a special appearance. The other two Chatterjees--Saswata (Bob Biswas from Kahaani), and Prosenjit (leading actor of Bengali cinema and son of actor Biswajit) are terrific as gangster Bagha and politician Barun Roy respectively. The surprise package here is Jeet (Jeetendra Madnani, a prominent actor, producer, writer and television presenter in Bengali film industry) in his debut role in a Hindi production. He looms large as SIT Chief Arjun Maitra in every frame that he is a part of. More fireworks are unleashed by the duo Ritwik Bhowmik and Aadil Zafar Khan as Bagha's ferocious henchmen who carry out his orders unflinchingly. Ritwik Bhowmik's transition from a mild-mannered, soft-spoken classical singer in "Bandish Bandits" to a ruthless gangster is remarkable. Women have comparatively less prominent roles. But the characters have been written very well. All are believable. Chitrangada Singh as the leader of opposition Nibedita Basak and Aakanksha Singh as SIT officer Aratrika Bhowmik are noteworthy. All other women in smaller roles are adequate.

These days web series are shot on a grand scale and this series is no exception. The elaborate indoor shots and extensive outdoor scenes are impressive. Hope the Khakee team comes up with another chapter from a different state incorporating local talents and flavours as they have done here. Asha kori amra seta dekhte pabo!

Bishnupur: A Marvel In Terracotta!

I have visited Kolkata several times. Loved each visit. But my recent visit was a little more special because I got an opportunity to make a trip to Bishnupur -- a lovely little town known for its magnificent terracotta temples and exquisite Baluchari sarees. I went with a group of friends, and that had its own charm. It was clear from my research that I would be in for a visual treat in Bishnupur. Not only did Bishnupur impress me, but it also lived up to its reputation beyond my expectations. 

Bishnupur has 20 terracotta temples built mostly during the 17th and 18th centuries. They were constructed by generations of Malla kings who were ruling that part of Bengal then. All of them had Krishna as the main deity, but now most of them are not functioning as temples. They are being preserved and maintained by the Archeological Survey of India for their spectacular carvings and amazing architecture. The domes, ceilings, towers and turrets of each temple are aesthetically designed, providing a glimpse into different architectural styles of that time.

We cover the 140-kilometre distance from Kolkata in about four hours by car. It is a pleasant ride showcasing the countryside of Bengal with green fields, villages and small towns. After checking into a hotel and freshening up, we set out on a tour of the temples in e-rickshaws. They are more suited for negotiating the narrow lanes of the town than cars. The ride in the rickshaw is delightful. The small houses, quiet lanes, children riding bicycles without having to worry about traffic are refreshing for us, accustomed as we are to the hustle and bustle of a city.

Our guide takes us to the Rasmancha, Jor-Bangla Temple, Madanmohan Temple, Shyam Ray Temple, Lalji Temple one after the other, all along narrating interesting anecdotes, and pointing out details from the intricate carvings. The temples look resplendent in their natural red hue. They get this colour because of the presence of iron oxide in laterite--the locally available soil that was used to build them. The walls of the temples are extensively covered with terracotta--fired clay--tiles with elaborate carvings. The artisans have carved such minute details in these tiles that one is awestruck by their beauty. The carvings depict stories from the Ramayana and the Mahabharata. Also, there are scenes of armies at war, kings on hunting expeditions, women grooming themselves and dancing, musicians playing instruments and so on. One of the tiles has Bheeshma lying on a bed of arrows, while another has Ravana with ten heads. And all these on small tiles, like miniature paintings! One wonders how the artisans created these from mythological stories when written texts were scarce and oral narrations were the only common means.

Photos by Lata

The lanes of Bishnupur are lined with small shops selling terracotta items--wind chimes, lamps, idols, cups, pots etc. What catches one's eye is the array of terracotta horses in different sizes. The horses are short, with unusually long ears. They stand out because of their elegant stance and elongated neck. All the items including the horses are in striking red colour of natural terracotta. These horses are called Bankura horses as they are made in Panchmura, a village close to Bishnupur in Bankura district. They have commonly been used in religious ceremonies in village rituals. Perhaps now they are the most popular souvenirs from Bishnupur. 

Another item that visitors like to take home with them is the stunningly beautiful Baluchari saree. The sarees have human and animal figures and scenes from the epics woven into them, all inspired from the temples. They have men and women, deers, horses, chariots, trees and flowers just like one sees them in the carvings in the temples. That is why draping a Baluchari saree is like carrying a little bit of art and heritage from this charming temple town!

Remembering Vasant Kaka!

It was 1980 or early 1981. I was a year into my job as a journalist at the Times Of India group in Mumbai. All through my school life I had idolised some of my teachers who happened to be Bengali. Their excellence in teaching, their simple lifestyle, and their starched white sarees with different borders, all of it made a deep impression on my young mind. Later, my love for all things Bengali (except fish--I am a vegetarian--), and whatever I had read and heard about Shantiniketan made me want to go there and see for myself the extraordinary institution founded by Gurudev Rabindranath Tagore .

I had known noted author, actor, orator Vasant Potdar--Vasant Kaka as we used to call him--since I was a child. He was a close friend of my father, and would visit our house whenever he was in Indore. Every visit of his was like a breath of fresh air, and the stories he used to tell would open windows to a new world for us. I used to be fascinated by his towering personality, his booming voice, and above all the wondrous accounts of his life that he would share with us. I was a mere schoolgirl with hardly any exposure to the outside world. It was long before the internet era, and we had very limited access to information. Vasant Kaka had been living in Kolkata (Calcutta in those days) for a long time, had mastered Bangla, and used to write for Bengali newspapers and magazines. He also performed several of his one-act plays in Bangla. He knew many writers, actors, artists, singers, musicians etc from close quarters. His rich experiences acquired from years of travelling made him a rare storehouse of amazing anecdotes that he used to narrate in his inimitable style.

He also possessed a great ability to spot a spark of talent in somebody when he saw one. He would then encourage the person to pursue it, and would help him or her in whichever way possible. I loved to pen short stories and was really an amateur. But he would always ask me if I had written anything new, would go through it, would appreciate my efforts, and would give me useful tips on how to improve on it. All this helped me build a good rapport with him.

So no wonder, when I thought of realising my dream of visiting Shantiniketan from Mumbai, Vasant Kaka's name was the first to come to my mind. He was in Kolkata, and he welcomed the idea of my visit. We planned the whole trip by exchanging letters, and one fine day, I was on my way to Kolkata in a coach of the Gitanjali Express. No phones, no messages in those days! Vasant Kaka was at the Howrah station to pick me up.

I did not have a camera, and I have no pictures from the trip. He took me to Shantiniketan as promised. He showed me around giving background information about various places. The serene campus of the Visva-Bharati, its greenery resplendent against the red soil, the beautiful art and sculpture at the Kala Bhavana and all around the campus, the simple yet elegant houses where Gurudev lived, all of it was simply out of this world. It was an exhilarating experience for me. I can recall very sketchy details of the trip. If I were to make that trip today, I would have written a series of blog posts on it, and it would have stayed fresh in my memory years later! All I remember is that Vasant Kaka took very good care of me. I owe my first trip to Shantiniketan entirely to him, and will forever be grateful to him for that. It was a brief visit focused on Shantiniketan, and so we didn't really have time for most of the usual places of interest in Kolkata.

A small tidbit of memory from the trip: Vasant Kaka was friends with Surendra Pratap Singh and M J Akbar, the stars of Ananda Bazar Patrika's Ravivar and Sunday respectively. I had tagged along with him to a party at Akbar's home, where among other people SP Singh was also present. Years later, he would sit in an editor's cabin across the hall from my desk in the office of the NavBharat Times, New Delhi! 

A Scrapbook Of Photos From Kolkata!

I had been waiting to enjoy jhalmuri in Kolkata, and when it appeared in front of me in such an attractive way, I was delighted. This mixture of puffed rice with a variety of ingredients was tangy and spicy. I asked the vendor to add a bit of almost everything from his basket to the serving he was making for me, other than the customary mustard oil. Purists may scoff at my omission of this dressing, but I am afraid, my palate simply cannot take it. On the way from Kolkata to Shantiniketan.

Hordes of people had descended on the headquarters of the Ramakrishna Math and Mission. Founded by Swami Vivekananda, the temple draws on Hindu, Christian, Islamic and Buddhist architectural styles as a symbol of unity. The sprawling campus looked very colourful and picturesque, with hundreds of seasonal flowers blooming in the gardens. In spite of the crowds, it was serene; the quiet Hooghly flowing nearby adding to its beauty. At the Belur Math.

Taking a well-deserved break in the middle of a busy day! Somewhere in the vicinity of the Marble Palace.

It is not yet five in the evening and the sun is ready to set soon! A boatman at work with people enjoying the ride in his boat. The Vidyasagar Setu looks grand and imposing. At the Prinsep Ghat.

This window looks so striking with its lovely contrast! At the Jorasanko Thakur Bari.

The blue door attracted my attention. The cycle added an interesting dimension. And the plants provided a touch of life to the frame. In Kumartuli.

The small temple makes everything around it so bright and cheerful! I could not resist taking a picture. In Kumartuli.

Kolkata was the first city to begin Metro rail operations in India in 1984. I took a ride and liked the experience. At Shyambazar Metro station.

The Rabindra Sarobar and its surroundings offer excellent recreational spots to people of all ages. The area is well-maintained and clean. A great place to be outdoors in the middle of a busy metropolis. View from the Calcutta Rowing Club.

A walk along the Rabindra Sarobar.

It was nice crossing the river from Babu Ghat to Howrah in this passenger boat. The ride costs Rs. 6 and lasts only a few minutes. Got treated to lovely views of the iconic Howrah Bridge from the boat.

It is difficult to get the bridge in a single frame. This is the best I could get!

As I alighted from the passenger boat and walked up the ramp, the Howrah station was just across the road.

Hand-pulled rickshaws continue to ply in Kolkata. In fact, they are one of the cultural icons of the city. Rehabilitation of rickshaw pullers and introduction of battery-operated modern vehicles is the need of the hour. At Shyambazar.

These windows are so typical of Kolkata! This is the scene in a lane on a lazy Sunday morning. In Shyambazar.

People living upstairs and small businesses downstairs. The beautiful balconies and drying clothes are so lively and colourful! The trees, shops and homes present a happy picture of co-existence. At Shyambazar.

Photos by Lata

This is where one normally exits the Victoria Memorial halls. The halls were bursting at their seams with crowds. They are impressive and loaded with information on Kolkata and its people. It was interesting reading about the beginnings of the city and how it came to be the bustling metropolis that it is today. Also, about all the distinguished personalities in various fields who contributed to the growth and glory of Kolkata. Being there was a humbling and enriching experience!

Read my posts on Jorasanko Thakur Bari and Kumartuli here.

Of Kumartuli, Clay And Divinity In Kolkata!

From Jorasanko Thakur Bari, I head towards Kumartuli in an auto rickshaw. It is a short distance away. The auto driver stops at the mouth of a lane off Rabindra Sarani and asks me to enter Kumartuli from that point. 

I have always been fascinated by pictures of clay idols of Durga in the making, and had made it a point to include Kumartuli in my Kolkata itinerary. I had read about this potters' colony in magazines and newspapers. It has also been featured in the Vidya Balan starrer "Kahaani" (2012). The stunning idols of Durga that people adore and venerate during Durga Puja are created in the lanes and bylanes of this modest neighbourhood. 

I have been wondering what I will get to see here in the month of December. Durga Puja got over just a couple of months ago and it is too early to start making Durga idols for the next year. I so want to see the potters in action! As I start walking in the lane flanked by small studios on both sides, to my utter delight I notice forms of Goddess Saraswati, complete with her veena and swan being shaped in clay. I realise they are being made for Saraswati Puja which is celebrated in Bengal on Vasant Panchami. I thank my luck for the good timing and set out to explore further. 

There are some men sitting outside what looks like a small shop, and just to make sure that I don't get lost in the labyrinthine alleys I ask them in Hindi --if I want to come back to this point should I ask for Rabindra Sarani? One of them replies enthusiastically--Didi, Rabindra Sarani nei, tram rasta bolben. I smile and thank him for this useful tip. Yes, this is a tram route alright. With buoyed confidence because of my small headway in local parlance, and eager anticipation I walk ahead.

Hundreds of potters and their families live and work in this congested area. The studios are rather small and a lot of unfinished work is lying outside in the lanes. The inner frame of the idol is made with straw, and several forms of the Goddess at this stage are just bodies of straw in different sizes. The idols that are in more advanced stages of making have the straw covered with clay. Saraswati--sitting with her customary poise, a veena resting in her lap and a graceful swan at her feet--is taking shape. Many of them are headless. But several of them are complete with a head too! The round face is adorned with exquisite fish-like eyes, and it looks radiant even in a raw state. Kudos to the nimble fingers of the artisans who create divinity with clay in these humble surroundings.

As I go deeper in the bylanes, I notice other figures too. There she is as Durga with multiple arms and perched on a tiger, while elsewhere, as Kali she is ferocious with her tongue sticking out, and Shiva at her feet. What stands out in all these is the beautiful expressive face. And perfect proportions. Nothing is out of place. Everything exists in a harmonious balance. I can only imagine how magnificent they will look when their faces are painted, and when their saree and jewellery are in place.

Photos by Lata

I am surprised to see how unobtrusive and welcoming the artisans are. They go about their work without questioning my presence in their midst. And I am not the only one. There is a young visitor taking pictures with a sophisticated camera. Then there is a foreigner with an Indian guide who is relating mythological stories about these figures to her. There is another guest who is watching a potter and singing to him as the latter is busy at work. Kumartuli is also a popular destination for organised walks.

In spite of the abysmal conditions, people are friendly and lively. Children playing in the lanes, elders sitting outside their homes soaking in the sun, and potters chatting with neighbours and fellow potters during a break. They have put me completely at ease with their disarming smiles and easy manner. Filled with admiration for their art and their spirited way of life, I walk back to the point from where I had started. It is not difficult and I make it to the place without having to ask for tram rasta!

At The Tagore House In Kolkata!

I am at the entrance to the Jorasanko Thakur Bari. It is marked by a red arch, opening out into the busy Rabindra Sarani. It is a pleasant winter morning in Kolkata. People are trickling in slowly. Outside, it is a chaotic and noisy road with cars, autos, carts and rickshaws struggling to find their way among the throngs of pedestrians and hawkers. Once you enter the arch and walk the short road to the gate of the imposing house, you are transported to a bygone era. In Kolkata for a brief trip, I have been looking forward to visiting Gurudev Rabindranath Tagore's house. Now at the doorstep, I am eager to see the place where he was born and where he breathed his last.

The elegant red house with a garden of trees and lush green lawns is like a tranquil oasis, amidst the cacophony of the world outside. Flowers of different hues add colour and charm to the garden. It is just the beginning of the day and there is no queue at the ticket booth. I buy my ticket for Rs. 20 which allows me entry into the house that contains the Rabindra Bharati Museum now. However, there is a separate ticket if one wishes to take pictures. I get it from the office for Rs. 50. This is good for taking pictures outside. Photography inside the museum is not permitted.

I walk around in the garden for some time and then make my way to the house. It  was built in the 18th century. It consists of large rooms that are well-lit and airy, with spacious verandas running along the length of the house. The high ceilings contribute to its grandeur. Tagore family comprised of affluent landlords and the house reflects the lifestyle of the rich in those days.

Footwear is not allowed inside the house so I leave mine in the passageway leading to the staircase. Upstairs, the chambers offer us a peek into the lives of the Nobel-laureate and his illustrious family. Many members of the family were proficient in some or other form of art. As a prolific painter, poet, writer, composer and dramatist, Gurudev was the embodiment of creativity in multiple disciplines.

The house has his robes neatly hung is glass cases on display. Some furniture, and his wife Mrinalini Devi's kitchen is also part of the display. Then there is a maternity room, used exclusively for deliveries in the family.  A detailed family tree of the Tagores is an interesting exhibit too. Photographs from his association with and visits to Japan and China occupy a large part of the galleries in the museum. Pictures from Shantiniketan where he is seen hosting eminent personalities are there too. Then there are several texts in Bengali script and a large number of reproductions of his paintings, neatly framed and hung across rooms and hallways. I regret not being able to read the script. Access to the second floor is closed so I miss seeing whatever is there.

Photos by Lata

Most of us are familiar with the images of Rabindranath wearing a long beard and flowing robes, but it is interesting to see pictures from his younger days in western clothes. He is tall, athletic, intense and aristocratic. One cannot help being overwhelmed with the sheer volume of his creative genius. Being at his ancestral home that nurtured his talent is nothing short of a pilgrimage!

What touches me most is the detailed account of his last days put up in neat frames in one of the verandas. These lines are poignant in particular:

When death comes and whispers to me 

"Thy days are numbered",

Let me say to him, "I have lived in love and not in mere time",

He will ask, "Will thy songs remain?"

I shall say, "I know not, but this I know

that often when I sang, I found my eternity."

-- Rabindranath Tagore