I have been holding off on commenting on Sandip Ray’s cinematic adaptation of Satyajit Ray’s Gorosthaney Shabdhan! for a over a month now. I first read the book fifteen years ago. It was one of the first novellas I read again after I started the Feluda fansite. In an earlier post I commented on the difficulty in transferring the book to a modern setting many months before the film was released. I also conveyed my concern with the danger that Sidhu Jyatha would become redundant in the age of search engines. Having seen the film I can say that my fears were not completely unfounded. The inclusion of Sidhu Jyatha in the film is strictly by the force of habit (and Feluda awkwardly mentions it too).
While I enjoyed Sandip Ray’s last adaptation Tintorettor Jishu (and I wrote a praiseworthy review of that film), I cannot say the same for Gorosthaney Shabdhan! I am fine with Sandip Ray changing the whodunit format of the story to an action thriller – something that he has done with his last few endeavors as well. But I found the film quite insipid.
When I first read Gorosthaney Shabdhan! what fascinated me more than the actual act of detection were the tidbits of information regarding Kolkata. These are completely lacking in the film which unfortunately has failed to coherently convey a sense of place.
In addition, the transition to the age of the internet is at best an uneasy one. I will provide one example of errors which stick out due to the change, but I am sure there are many others. A clue in the novel is the small scrap of paper which one of the characters, Naren Biswas had when disaster struck at the Park Street Cemetery. The letters written on the scrap of paper were “MN, OU, GAA, SJ, WN.” This signified the initials of British publishers. When Satyajit Ray wrote the letters decades ago he made a minor error with GAA – which should have been GAU because the name of the publisher was George Allan Unwin (not Anwin as Satyajit Ray implied). In 1985 the publishing house became Allen & Unwin – an Australian-based publisher. By making the cinematic version modern without updating the name, location, or even rectifying the error the film, is anachronistic.
I would still be able to get past these shortcomings had the film been paced properly. In my opinion, it is lethargic and slowly stumbles along to an unfulfilling end. There are entire episodes in the film which I found boring despite having savored the book only a few months earlier. Take for example the scene when Feluda, Topshe, and Jatayu meet the elder Godwin. Tinnu Anand is miscast in the role and he sucks the oxygen out of the screen for the duration. Lalmohan Ganguly (Jatayu) is absolutely humorless. There isn’t a single line of dialogue spoken by him which made me even smile, even when there are quite a few “Jotuyu-isms” that make me laugh out loud in the actual novella.
I waited for Gorosthaney Shabdhan! to come out for the big-screen for over a year. I am very sorry to say that it thoroughly disappointed me.
(Please post your opinion of the film in the comments section, especially if you disagree. Please please also keep your comments civil).
Staying away from Kolkata HAS certain disadvantages, no matter how harsh we “the NRB”-s might be towards the City, with all its pollution and strikes, one of them being the inability to watch Feluda-movies as they are released. We only get to see them as VCD/DVD-s, after they have been reviewed, analysed, criticised, etc. Here also, I am not in a postion to make any comments regarding the strengths & weaknesses of this particular movie. But the “Sidhu Jyatha issue” is indeed serious, and has been mentioned in almost all the reviews that I came across. My question is: how to update the ‘books’ in a manner that does not make Sidhu Jyatha redundant? “Kailashe Kelengkari” was and remains the only story where he had played an active role from the start, in all others he was acting as the repository of information (arcane topics that require some subjective interpretation as well, so that ‘sensational’ items can be identified easily) with the better aspects of a search engine, namely: relevance, and authenticity. With the emergence (one may say dominance) of Google and the world being shaped by the internet in general, it would not be difficult to update Feluda, with his initial descriptions in “Badshahi Angti” bordering on someone who is almost eccentric, somewhat-crazy, and full of nervous energy (all echoing the Great Detective of the 1890-s) to learn more and do more (BBC Sherlock successfully achieved this update); but what about our lovable and respected Sidhu Jyatha? Answers solicited.
Riju, thanks for your excellent analysis. Even I had to wait weeks before getting my hands on the movie. Such are the perils of living outside the state, which you so eloquently mention.
There are three mentions of the internet in Gorosthaney Shabdhan! which I found to be somewhat forced.
1) The first relates to Sidhu Jyatha mentioning the history of the Godwin family. I actually thought the sequence with veteran actor Haradhan Bandopadhyay was one of the better ones in the film. Unfortunately at the end of the discourse, Feluda rather bizarrely apologizes by saying “We could have obtained this information from the internet, but we like coming to you.” Why even mention that? There is a lot of information on the internet, but in the age of SEOs finding the right information is key and Sidhu Jyatha can circumvent his demise through subjective interpretation. As you rightly state, Sidhu Jyatha provides a somewhat subjective analysis of the matter which is a value-added aspect.
2) The second mention of the internet is with respect to the “Perigal repeater” In the film (as in the book), Feluda mentions that a repeater might be either a watch or a gun. Immediately after that he rather clumsily says, “Well the cybercafes haven’t opened yet, so we won’t know for a little while.” Touche! And Feluda has no witty repartee.
3) In a third scene, after he already knows what a Perigal repeater is he asks to which he gets the response, “I don’t believe you came all the way to ask me what a Perigal repeater is when you could have just as easily looked it up over the internet.”
The use of Sidhu Jyatha in the film was fine but in my very humble opinion, No. 2 and 3. were artificial attempts to create an aura of mystery around the Perigal repeater while sticking to the main thread of the original story.
I live in Kolkata and this film is the longest running Feluda movies by Sandip Ray till date as it is still running in several theaters in Kolkata even now. So I think that majority of the people watching this film here have liked it and that is what matters for a bengali movie. Regarding the tid-bits of info about Kolkata lacking in the film, Sandip Ray has himself said in one of his interviews here that he has tried to make the film short and crisp without dragging it with facts unrelated to the actual mystery. Also i would like to mention that since Feluda and Godwin are fictional characters why can’t George Allan Anwin or GAA also be a fictional British publishing house? Do we really need to be so precise about facts in fiction? I don’t think so. All that matters is whether you like the story/mystery or not. The film is a totally different entity based on the original story. Even Satyajit Ray had changed many sequences in the movie Sonar Kella from the original story. Frankly speaking Sonar Kella as a story was a mystey while the movie was not a mystery but an adventure. Regarding Sidhu Jyatha I really feel whether he will be relevant in future Feluda movies as Feluda is now a modern day net savvy investigator.But I would like him to stay alongside Google. Moreover a search for a new younger Feluda must begin as Sabyasachi Chakraborty is also getting older, he will not suit the character in about 10 years.
Thanks for your comments, Arindam.
As I said before, liking/disliking is subjective and I really appreciate your taking the time to state your point of view.
What ties all of us together here is our love for Feluda and our appreciation (if not always liking) for the recreations.
Regards,
Anirban
I first read Gorasthane Sabdhan in ‘Saradiya Desh’.
I was overjoyed when I saw that after so many years Sri Sandip Ray has finally decided to make it into a film. I think Sri Sandip Ray had made a great mistake while trying to amalgamate the old with the new. Feluda found net more reliable to retrieve information on Perigal Repeater, but why should he depend upon the local cybercafe, in this age when desktop and laptop computers have become so affordable and cheap and different types of internet connection are available (BroadBand, OTA, GPRS, etc.) and para cybercafes are already a passe.
Mahadeb Chowdhury’s henchmen are keeping in touch with him via cellphone and Feluda is zooming around in Jatayu’s green Santro Xing (instead of Ambassador), but not a single PC could be found in Feluda’s room.
Very nice
Read your post as well as the comments.
Those who see no harm in ‘modernizing’ random things in Feluda stories, may as well advocate modernizing, say, “Chokher Bali”, where Raima Sen would accidentally see a MMS clip on Prasenjit’s mobile about Prasenjit and Aish doing it!
BS
Excellent!! . People are getting unnecessarily busy with this ‘ modernizing feluda’ . a detective movie’s main concern should be keeping the original essence of the story (if it be based on a story , which itself a masterpiece ) and charming the spectators.
It is not about modernizing. When a film is made from a story, the director can either change and set the film on modern time or keep the actual. Chokher Bali was a period film and Gorosthane Sabdhan was converted (several things in the movie changed to show clearly the times have changed) to a modern story. Now showing a character accessing MMS in a film set in early nineteenth century would be a real comedy. But Gorosthane Sabdhan is shown in film as set in 2011. So the comparison doesn’t have any logical ground.
Yes I agree with you, Gorostahne Sabdhan is much better when read as story, rather watched as a movie. However, I liked Dhritiman Chatterjee and Subhasish Chatterjee’s performance in the film. But, it is high time that Sandip Ray started thinking about someone else for the role of Jatayu..!
Came across this website whilst looking for Feluda and could not resist making a comment. Rendition of a canon in reel is not easy as expectations run high. In this respect Sandip is trying his best. GS is arguably one of the best Feludas on screen as the narrative is taut and the suspense is maintained. Granted the issue of a cybercafe and internet is a tad out of place and could have been handled better. However, I feel that the need for Sidhu Jyathas in this world is ubiquitous even in the days of information superhighways readily navigable. This is because, the human mind organises information and knowledge in an abstract way which no wikipedia can reproduce. Remember, the internet information is written by a human.
I’ll give you an example. I have created the virtual Feluda museum. The information given in the Perigal Repeater icon is given to me by a horologist who happens to know the Perigal family. No matter how hard you try, the internet on exhaustive searching will not tell you that the Perigal family were French protestants from the Provence area who fled St Bartholomew’s Day’s massacre in Catholic France in the 17th century and came to England as refugees. Sidhu Jyatha would have told you about this. My co Feluda fanatics call me Sidhu Jyatha affectionately and my knowledge is based on informed analysis of many databases which only a human can do.
I don’t agree witht the comment that a sense of period was not present in GS. The budget was probably constrained to depict a recreation of either Sadat Ali or old Calcutta. But the Ripon Street sequence and the camera movements in the cemetery capture the period quite well not to mention the Bourne and Shepherd building. The allusion to the fire here needs to be given credit for its detail.
I think it is easy to criticise the depiction of a classic canon in celluloid but what we musn’t forget is the fact that the effort is beyond any doubt very commendable.
The best rendition of a canon so far I have seen is Sherlock Holmes made and produced in Russia with an actor called Vassily Litivinov as Holmes. You must have seen Jeremy Brett as Holmes in the Granada production which is meticulous to a detail. However, this detailing sometimes failed short. Litvinov’s Holmes is almost perfect with its flaws which cannot be avoided.
Do beg your pardon. The St Bartholomew’s Day massacre was in the 16th century, 1572.
Thanks for visiting and writing. I am glad others are expressing opinions different from mine. That is the whole point in having this discussion.
Regarding Sidhu Jyatha, I’ve written a post on what I see his role would be as a information specialist who brings a value-added aspect to simple searching. I’ve no problems with the way he was depicted in the film. My concern is broader in the sense that he needs to find that place in the films.
You’ve mentioned the financial aspect and I concur. That is why I didn’t mention how much I found the forced introduction of the sponsors and product-placement throughout the movie to be jarring. In my humble opinion, there might have been many other ways to introduce sponsors that didn’t detract from the storyline.
On another note, I’m waiting for “Royal Bengal Rahasya” to be released since it is my favorite Feluda book.
I really appreciate the way you guys mentioned the faults done by sandip roy especialy the 3 points by ani, but dont thing so there’s any serious fault in doing a bit modernization. Its 21st century & if people desires to have a film of 70 or 80′s with black n white effects, that wont be easily gained at all. Using of internet has taken a large part in controversy, even this kind of thoughts are also founded that sandip roy tried to insult by putting down the value of sidhu jyatha from the fact but i couldn’t find that kind of intention from the scene! “we’d have done all the thing through net but we like coming to you”..this words have shown the adore & respect given to him.
Sandip roy has tried to make it in an combined way & it was quite obligatory too.
At this kind of stage Its not an easy job to make a film written in 80′s, a huge gap in the views of kolkata, whole circumstances. In need of an rare information if Feluda doesn’t take the help of net, the question could have been asked by the teenagers & it might not be accepted by them!! He had to think about that too…
And if viewers allow the maruti of Jatayu, the present modern views of Kolkata then why cant they move on with the combination of cybercafe & Sidhu jyatha???
They should so… Becauz there’s no alternative option..giving the value of the main stream story & using the perfect modern props, The way Sandip Roy has taken the story to present is really praiseworthy.
I am afraid that Mr. Ayush has somewhat missed the point that we have been trying to make in the previous posts. Incorporation of internet and other contemporary features DO NOT reduce the visual impact of the films, rather they place them firmly in category of “thrillers” rather than “period films”, thus making them acceptable to a large no. of juvenile & post-1990 viewers who may not be too keen to watch anything sepia-tinted. I am personally very happy with the ‘induction’ of net in the movies, but what had alarmed us all was the obvious confusion of the Director with respect to Sidhu Jyatha. Sandip Ray did not know how to place that venerable, lovable, and quite towering (in terms of knowledge, observation-powers, and intellectual depth) personality in this gizmo-infested world. Off course, the stories would remain enjoyable even if they are devoid of Sidhu Jyatha, but then what is Sherlock Holmes without the infamous fog of London? “Feluda” must survive as a franchise, and to do so, not only Pradosh C Mitter, but all the other characters (including the one & only Sidhu Jyatha) have to be shining with their individual warmth & eccentrics. If BBC can re-invent Sherlock Holmes and Dr. Watson with all the gizmo-s, and yet retain Mycroft Holmes as “one of the most dangerous man in London”, why can’t think along those lines? More comments solicited, and all the best!
From what I understand from a friend who has followed the “new Felu” crew as an Anandabazar Patrika reporter, the push to make Felu modern has a simple underlying reason – economics. Felu movies are very outdoor oriented and to get old trams, buses, roads, DTH dish free skylines, relevant wall writings and so on for a film like Gorosthane Shabdhan would have been a very costly affair. That the budget was stretched anyway is evident when Felu & Co go to meet Naren Biswas at the same hospital on EM Bypass that also is a sponsor of the film (and there are positional advertisements of Idea Cellular in the film as well just as Felu wants to understand the Chris Godwin family from the local paan wala before stepping inside what Jatayu had called “Ripon Street er koborsthan” in the novel. In the movie Felu says “Chol, Idea Sirji je jiggesh kore dekha jak”).
Riju is correct in bringing up the BBC’s Sherlock Holmes initiative. The TV format suited them well to preclude the necessity of sweeping sets. And they possibly had the money too – Unfortunately in India, despite all efforts, Felu has remained largely regional which in turn means it will be difficult to find a producer with a wider commercial interest to make an expensive Felu film.
The matter of Sidhu Jyatha’s relevance is very interesting. It is almost like how several businesses found themselves against the onslaught of the internet and search. By the way, imagine Felu in the age of Twitter (“need to find about Perigal Repeater. Pls RT”). Jokes aside, this Sidhu Jyatha matter needs serious thinking.
Sincerely
Subrata
Hello,
2 comments to make here:
a.) Although I understand the art of cinema no more than a novice, I still differ with Sandip Ray that the whodunit way is bad for story telling in movies. After all “Joy Baba Felunath” was a partial whodunit and worked remarkably well, at least for me. Thus, I would urge him to explore ways in which the mystery is built up and at the same time, the pace or the compactness is not sacrificed.
b.) Anyway, I did not all all like Tintorettor Jishu at all. It looked tacky, aged, dull and to top it all, the sophistication and class that was portrayed in the book looked totally sacrificed. I wish that the abroad scenes could be at least remade. The book is a gem and the adoptation was pathetic. Comparitively, I preferred Gorosthane Shabdhan. The beauty of it was the story beign based in Kolkata, the director and the team did not have to move abroad and ry and recreate impossibilities which meager budgets dont entertain. Here, it was pretty easy to recreate the dilapidated sets and aura (at least to some extent) of the descriptions in the book. The old dilapidated feel of an old and aged city was well portrayed.
Fantastic websites on Feluda & Byomkesh and also very good English & Bengali blog sites.On Feluda site like to say that that humor on jatayu is missing in daily life but we need very much & the so called comedies are something that can be said Bengali “BHARAMO”& the humor that is what I mean to say “SOROSHOTA” attracts us to the character of Jatayu. Please open a topic on this
Thanking u
R.D.
Thank you very much for your kind words.
I think that to consider the above-mentioned comment as “uncivil” would be rather under-stating the fact. How did it pass the moderator?
The comments section is unmoderated and since I’m not always available to check comments on a daily-basis, we do have lapses every now and then.
But when I see comments of an attacking nature, I do delete them (as I have in this case)
well that IS not an uncivil word what i meant to say is that the actor who just passed away could not portray the character of Jatayu at all he was a total FAILURE the “SOROSHOTA” that attracts us to the character of Jatayu was completely missing where as Santosh Dutta portrayed this “SOROSHOTA” of the character of Jatayu that one cannot forget it.Plz understand correctly as to what am I trying to say
R.D.
I am afraid that R.D Sir has mistakenly apprehended his comment as the source of mine & Anirban’s barbs. That’s not the case, and the offending comment has been taken away very kindly by Anirban. And for the record, I whole-heartedly agree with his opinion that the significant difference between “soroshota” and “bhNaramo” had indeed been eliminated by somewhat inferior actors, once the Great Santosh Dutta left us to our “modern” adventures of Feluda.
Agree with Riju. The two comments in question were deleted. Your comment is very much appreciated.
So how about opening a topic on this simple wit and humorist view on life as on daily basis as to we do not lose our lighter side of our life and not be satirical about life .IF we can really try hard enough & bring back this simple things in our life & look forward with hope happiness.As you see that now a days the whole world is going through a lot of depression because of a world wide economic ,financial crisis .So lets try to some brightness back to our life remembering the simple wit & humor of Jatayu
R.D.
Now that we are on the verge of release of another Feluda film “Royal Bengal Rohosyo”, which may very well be the last one as part of this latest ‘series’ (since Jatayu is, sadly, no more with us), what are our expectations from this movie? Any thoughts?
Fix The Fox से आचचा
The picture is actually nice without doubt,there are many picture about detectivity but it’s different and luminary among Bengal
OM JAY SHIVA
My dear Brothers and Sisters HAPPY NEW YEAR 2012
Living as I do out of Bengal, I have not yet seen Royal Bengal Rashya. So I have to leave that movie out for comparision.
GS will classify in my mind as the best Sandip Ray’s Feluda movie. Almost all actors were perfect for the roles that they played. What I find most amazing about the movie is that even minor characters lile the pan shop owner (what an idea Sirji) did his bit so well that his performance is firmly etched in my mind.
I would have been happier had an Anglo Indian actor been cast in the role that Tinu Anand did. However autheticity aside, Tinu Anand, did his role remarkably well. I did not know he could speak Bengali so fluently.
On the continuing discussion on the usefulness of Sidhu Jatha, even in the days of Google, there is nothing like a personal touch where information is concerned. I think he can evolve into a sounding board for Feluda for his ideas and thoughts.
I had stopped seeing Feluda after the disaster of Bombeyer Bombete. I was so disappointed with Sandip Ray that it took me a long time to see Kailash and Tintoretto. But with GS he has certainly redeemed himself.
Subhasis Ghosh
11/03/12
It has been quite some time since we had any activity on this site. Can Anirban take some measures to reinvigorate the discussions (plus add a new thread perhaps)?
What dissapointed me the most in the film adaptation of this fantastic story is the fact that Sandip Ray decided to SHOW who beat up whom right in the first scene ! This film is not really meant to be a thriller, the whodunit angle would have worked much better.
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I only liked BOMBAIYER BOMBETE by Sandip Ray and that also went so-so only because of the pacing and outstanding story line introducing train, horses, so may people and the shooting crew. Regarding GOROSTHANE SABDHAN, I can only comment it to be a total loss excepting some good music composed by Sandip Ray, some brilliant camera & picturisation and obviously some roles portrayed by some super-fine actors. Tinu Ji has shown great skill but even then his talent remained unexploited and his scenes could have been made more interesting and enjoyable. Dhritiman Chatterjee was fantastic and not to forget that “paan-wala” also. As regards the trio, Sabyasachi is good may be because of we have no other better option than to take him as granted as our very own Feluda as he is the only man who has been holding this post for decades now, both in big as well as in small screens after Satyajit’s feluda – the great Soumitra Chatterjee and thus being gradually succeeding Soumitra Chatterjee and made a firm place in the minds of the people as our Feluda both on screen and on air (Refer to the audible stories of feluda in Radio Mirchi’s Sunday Suspense). About Topshe and Jatayu, Sandip Ray’s luck wan never good to find the right man. I never liked Parambrata for his unwanted over smartness and trying to do and know even more than feluda in some shots. Saheb is rather a better choice but he seems to be very much immature and aloof from what is all happening around him as regards his looks, get-up and height. The Late Bibhuda tried his utmost to recreate and reinvent the character but he was lacking in quantifiable skill and talent, subsequently failing to entertain the audience in most of the cases but not in all occasions. A scene from ROYAL BENGAL RAHASYA can be cited as one of the instances of his acting skills when he tried to hide his comb from the insane Debotosh Singharay. After all, we must not forget the fact that It is always very very tough to recreate a character by a novice when the same character has already been established in the past by other superior actors known for their skill and talent such as Soumitra Chatteree and the great Santosh Dutta.
About GS, I appreciate the views shared by Riju and Anirban and also support them regarding the Internet and Sidhu Jyatha cause and even soliciting comments from mainly them on my views. If you are making a cinemascope based on any novel by say Tagore or Saratchandra, then you have to emphasize on scenes, costumes and facts relating to that relevant period of the novel as depicted in it otherwise the original flavour and charm of originality would be missing which would not gain any national or International or even a Standard acceptability among the mass. It would then be treated as an ordinary work of any amaeture just as it happened in all of the feluda films by Ray (Jr). You may have to show a Palki or costumes of that relevant period and if the costing seems to be high or not affordable, then those scenes can be tactfully skipped by the director if he wants but the main essence is to be kept intact by any means whatsoever, and if it cannot be done so then those films should not be made at all. As regards Internet, feluda should indispensably have one PC at his home with internet connections when he is using mobile phones. Alternatively, keep off from all the items of technology and switch to the older mode in the older period that is spoken of in the novel and depend only on the brains to solve the mystery. A third alternative is that to use both, the modernisation and the mood and flavour of the actual story and make it a perfect blend and deliver to the audience. But in no case the original flavour can be sacrificed for sake of modernisation. There is huge defect in this blending by Mr. Sandip Ray and that is why all the feludas have no excitement and charm ever. The question of a new actor doing feluda should only arise when you are trying to keep the originality of the main story intact, otherwise you can well carry on with Sabyasachi because everyone goes older with the ticking of time and one day our feluda should also grow older if you consider him as a real flesh-and-blood human. I sometimes wonder what actually Satyajit Ray would do if he remained alive today and going to make a new feluda cinemascope by himself! But Feluda remaining ever young and using mobiles and internet and all other surroundings is changing by the change of time is not acceptable in any case. The same theory applies to Sidhu Jyatha also. Sandip Da or Babu Da should keep him in the film and then he should decide whether to show mobiles and internet and to what extent. Without Jyatha, every information is possible nowadays but what if Sidhu Jyatha gives the required information in a casual manner indigenously in a specially and carefully created sequence? These things have been totally overlooked before making the film and needs to thought and taken care of deeply and research-fully.
Nevertheless, these drawbacks could well be accepted by the mass if the feluda films right from the beginning to the end did not lack the most important thing that is the suspense. I do not know how many awards Babu Da has got by showing the killing of Thumri in the very start or showing of Girin in the graveyard and the like in every other film. He needs to have written a new screenplay introducing more new and interesting facts rather than to carry on with the same speeches as dialog as it is written in the book just as Satyajit Ray had done in Jai Baba Felunath for instance, the knife throwing or the camel ride in Sonar Kella. Without a proper screenplay, all the films have remained only being just an audio-visual transformation of the story lacking in facts and figures and killing the suspense in its entirety by an incompetent casting in an incompetent location that does not match either the older version or the modern city of Kolkata.
I want to have a reach of my comments to Sandip Ray (Babu Da) and expect to make over the drawbacks and sustain the suspense in all future Feludas. He wants to do JOTO KANDO KATHMANDU TE, CHHINNOMOSTAR ABHISHAAP, etc as queuing up for next but finding a new Jatayu in absence of Bibhu Da would be a big problem.
In ROYAL BENGAL ROHOSYA also he had done material mistakes like Mohitosh Babu should be giving to Feluda two skins of Royal Bengal Tigers as gift, one of which he further gifted to Lalmohan Babu and the sword of Adityonarayan and not the silver coins which feluda had refused to take earlier. The tiger shown in graphics does not match the standard quality and seemed to be very near to the men who stared at it very fearlessly as if it is a toy. The tiger should be shot dead by Sasanko Babu in the story and not running off.
Please Babu Da, make more realistic Feluda Films that will have vast acceptance among all and do not just imitate.
Further criticism solicited.
Alas! Haradhan Bandopadhyay is also not with us any more. For the next Feluda movie, Sandip Ray has to locate a new Jatayu as well as a new Sidhu Jyatha! He may even decide to go for “Gangtok-e Gondogol” only because these characters are not there!