Category Archives: Basic information on Feluda

Sidhujyatha.com – the dangers of modernizing Feluda’s world

In an earlier review of how Sandip Ray’s cinematic version of Tintorettor Jishu stacks up against the book, I pointed out the extensive  makeover that Feluda has undergone since the Seventies. In Sandip Ray’s Feluda films, Lalmohan Ganguly’s green Ambassador has given way to a green Hyundai Santro. Characters move about in the present day. As Sandip Ray mentioned in an interview with the Telegraph taken during the shooting of Tintorettor Jishu, even though Feluda himself does not use a cell-phone, others around him do. I think this transition to modernity is a very bold move.

Sandip Ray has made clear his desire to make a film based on Gorosthane Shabdhan! in modern Kolkata. As I review in my commentary of this book, in the middle of the adventure, Feluda is entrusted with finding out exactly what a Perigal Repeater is. As customary in many of the Feluda stories, he seeks information from Sidhu Jyatha. In this case, Sidhu Jyatha cannot help him out because he doesn’t know the answer to his question. Feluda, Topshe, Jotayu, and the readers have to find out the hard way and it is an enriching experience!

The use of Sidhu Jyatha as a reliable compendium of information works brilliantly in a world that predates the internet. Sidhu Jyatha becomes anachronistic and redundant in today’s world – the world of internet search engines such as Google, Bing, and Yahoo. In my opinion, this is the primary danger that Sandip Ray faces in completely updating the series. It took me under five minutes to find out what a Perigal Repeater was from Google. Do we want Feluda to live in a world where antiquated books can be accessed through Google Books and up-to-date maps through Google Maps thereby making travel through time and space essentially an armchair feat?

What would be the role of Sidhu Jyatha as a  purveyor of rare information? Would he be asked to peer through well-worn volumes of newspapers clippings or would Feluda do a search for articles by year on Google News instead?

Sidhujyatha.com!

Of course, in a world filled with “crowd-sourcing”,  Sidhu Jyatha might be a contemporary equivalent of Yahoo Answers or Ask.com (formerly better known as “Ask Jeeves” and named after the fictional valet of Bertie Wooster from P.G. Wodehouse’s works). Sidhu Jyatha could provide expert insight along with opinion through his website Sidhujyatha.com.

Still, one cannot help but be anguished by the role that Sidhu Jyatha would play brushing shoulders against members of Generation X and Y who tread easily on the information superhighway.

©2010-2012 Feluda.net. All rights reserved.

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Feluda – where are the women? ফেলুদা সিরিজে নারীচরিত্র কোথায়?

I was reading some of the old Sherlock Holmes stories after a long time. As you may know Irene Adler from Scandal in Bohemia was the woman in Sherlock’s life.

I’ve been thinking about this for a while. Who was the woman in Feluda’s life? Did he never fall in love? Or was he completely obsessed with his profession?

One explanation is that even if he did have a girlfriend or fiancee, he hid it very well from Topshe. Or maybe Topshe was forbidden from writing about personal matters? In fact that there were cases that Feluda worked on that were too violent or racy for Topshe (as Satyajit Ray mentions in Noyon Rahasya).

This brings me to a second point. There are a lot of female fans of the sleuth in the real world but there are very few female characters in Feluda’s world. A very-well researched post in Calcutta Chromosome confirms and expands on the topic of female characters (or lack thereof) in Feluda’s world.

I highly recommend that you read the piece. This complements Lila Mazumdar’s spot-on observation on the dearth of major roles for any of the relatives of Feluda and Topshe in the series.

Until next time, keep reading.

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Gorosthane Sabdhan- a walk through Victorian Calcutta (গোরস্থানে সাবধান)

Calcutta 1893. Note the "old burial ground" next to Lower Circular Road

When Satyajit Ray wrote the Feluda novel, Gorosthane Shabdhan! (গোরস্থানে সাবধান) in 1977, the process of renaming streets and locations in Calcutta had already started. Of course, this reached a frenzied pace in recent years with the renaming of the city itself to Kolkata and the prime location of the novel, Park Street, to Mother Teresa Sarani. Nonetheless, in the story we find signs that change had already started. Dalhousie Square had become B.B.D. Bag in honour of the revolutionaries Binoy, Badal, and Dinesh. Topshe even had difficulty remembering that Ochterlony Monument had been renamed to Shaheed Minar! (Most people born in my generation have no clue who David Ochterlony was and what he did to deserve a monument).

low-res Google Maps view of Park Street Cemetery (2010)

I remember that my grandmother used to refer to places in Calcutta (or Kolkata, if you prefer) by their original names. She would always say Dalhousie Square, “Monument”, Theatre Road, Camac Street, Harrison Street, and Circular Road. Many of these names are still present in Gorosthane Shabdhan! but others are gone. During my lifetime, people started making a shift to the new official names, although there are pre-Independence names that are still common. For example, Chowringhee and Strand Road are still quite popular. In any case,  I will not be surprised if Esplanade is also “Indianised” soon.

Park Street Cemetery

Please note my personal opinion: I do not intend to make a political statement, but I do strongly feel that we cannot and should not try to wish away our heritage (whether good or bad). And part of the reason I personally find Gorosthane Shabdhan! to be a fascinating novel is because I see Feluda and Tosphe inquisitively digging away at the colonial history of the city.

Gorosthane shabdhan!

http://www.flickr.com/photos/keep-on-moving/ / CC BY-NC-SA 2.0

Calcutta 1924 - Most of the street names have been changed

Of course, Satyajit Ray’s story was written before the internet became a common resource. Today, we have it easy: we can look up many of the clues in the story and even figure out that the main antique, the Perigal repeater is a watch. But Feluda had to dig up the clues the hard way, by doing field-work and consulting Sidhu Jyatha, who unfortunately didn’t know about this priceless type of watch.  When I first read the Feluda stories, I didn’t have the  luxury of being able to use the internet either. Now reading the story, I feel as nostalgic about Feluda himself as I do about discovering the old-world charm of Victorian Calcutta.

However, since there are many readers like me who are only vaguely familiar with Calcutta (as opposed to Kolkata), I thought it would be proper to take a short virtual walk through the city in Gorosthane Shabdhan! For additional reading on the history of the city, I highly recommend Calcutta: The Living City Volume I edited by Sukanta Chaudhuri and published by Oxford University Press when the city turned 400. Pick it up at College Street before our bureaucrats change the name to Mahabidyalay Janapath!

In the story, Feluda poured over a map of Calcutta and Howrah dated from 1932. However, much of the story deals with Victorian Calcutta, and names didn’t get changed en masse until after India’s Independence from Great Britain in 1947. I’ve painstakingly acquired two maps of the city, one from 1893 and one from 1924 which you may find useful. Please note the names of streets in these two maps. These names have changed over the course of the last sixty years.

Feluda also mentioned Bourne & Shepherd, the oldest photographic studio still in operation. The gang also looked at pictures of Calcutta taken from atop the Ochterlony Monument in 1880. I’ve been able to find some pictures from around that time that will help us walk down the proverbial “Memory Lane.”

An albumen print from 1880 showing the floating Howrah Bridge (Courtesy Bourne & Shepherd)

The view from the Great Eastern Hotel circa 1880

Albumen print - view of Calcutta circa 1870

Albumen print, street-view of Calcutta showing Post Office, 1880

Albumen print with street view of Calcutta showing Main Post Office, circa 1880

Postcard showing Holwell Monument at the edge of Dalhousie Square. No longer near B.B.D. Bag anymore

Aerial view of Kolkata, circa 1945

Park Street, circa 1940

Please note that I have collected many of these antique photographs and postcards through eBay. You can find gems yourself by searching for Calcutta (“Kolkata” won’t work here). The photos can be freely used since they are not subject to copyright. If you can help me find the names of the photographers, please let me know so that I can attribute properly. The text is, however, subject to copyright and cannot be used without permission of Feluda.net.

©2010-2012 Feluda.net.

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Feluda and Topshe in Feludar Goendagiri (ফেলুদার গোয়েন্দাগিরি)

When Satyajit Ray introduced a new Bengali detective in Feludar Goendagiri (ফেলুদার গোয়েন্দাগিরি) in the Bengali periodical Sandesh in 1965, he did not have any plans for continuing the series. Details on how the story originated can be found in Sandip Ray’s piece in a Feluda commemorative issue published 30 years later and also in a report published in The Telegraph. The short story involves a case quite simple compared to some of Feluda’s more intricate adventures.

We also learn some facts about Feluda, some of which change in future stories. In Feludar Goendagiri, Topshe’s name is Tapesh Ranjan Bose, and Pradosh Mitter (Feluda) is a cousin related to him on his mother’s side. Topshe’s name changes to Tapesh Ranjan Mitter (Mitra) in subsequent stories and so does the relationship. Tosphe is a little over thirteen, and Feluda is twenty-seven years old in the story. We also learn that Feluda’s father’s name is Jaykrishna Mitter (Mitra). Although Feluda is as sharp as ever, in my opinion, he does seem a bit more impatient with Topshe than in future stories.

From reading Sandip Ray’s reminisces we know that Satyajit Ray was fond of traveling and making sure Bengali readers could share his experiences through the Feluda adventures. Satyajit Ray directed Kanchenjunga, his first completely original screenplay a few years earlier. Kanchenjunga (which has always been one of my all-time favorite movies in any language) was shot in Darjeeling. For the first Feluda story, Feludar Goendagiri, readers were transported back to Darjeeling. Feluda would come back again for Darjeeling Jomjomat and Sandip Ray mentions that this was one of Satyajit Ray’s favorite places.

Through Topshe’s first-person narrative, Feluda also educates as well as entertains. From the outset, he explains his thought-process and shares tidbits of information with readers. For example, in Feludar Goendagiri, readers learn some facts about differences in Bengali type-fonts

Equally important, Feluda’s acute sense of observation is evident in Feludar Goendagiri. He notices minute details that others fail to detect. However, his acute powers are not limited to visual observation, since the sense of smell, plays a major part in this story. Feluda uses this sense to great effect in future stories such as Bombaiyer Bombete as well.

As discussed, many of the key features of future Feluda stories are already present in Feludar Goendagiri.

(If you’ve already read the story, please check out the quiz.)

©2010-2012 Feluda.net. All rights reserved.

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Why is Pradosh Mitter known as Feluda and not Pheluda? আমরা ফেলুদাকে ‘Feluda’ লিখি কেন?

The Bengali letter (ফ) is pronounced differently depending on which dialect of Bangla you speak. Most people in West Bengal, India pronounce it with a soft “phaw” so that the word for fruit is pronetically phawl (ফল). On the other hand there are many dialects in both West Bengal and Bangladesh that substitute it with the f-containing “faw” so that the same word is pronounced fawl. Similarly, the word for “consequences” in Bangla is ফলাফল and you can transliterate to Roman letters as either falafal or phalaphal.

So, depending on the variation of Bangla that you speak, Pradosh Mitter’s nickname can be transliterated as “Pheluda” or “Feluda”. However, Pheluda is not in much use as you can see from a simple search on internet engines.

At Feluda.net, we personally have no preference, but are curious to know the reason. We know for a fact that were we to name this site Pheluda.net, we would get substantially less traffic. Our best guess is that Satyajit Ray preferred spelling it Feluda and this convention has thus become popular. We also know that the earliest translations of these detective stories (and all subsequent translations into English) used “Feluda”, so that might also be another reason.

Of course this is a “light” matter, but we are curious if other “phans” have any comments or theories.

©2010-2012 Feluda.net. Please seek permission prior to reproducing.

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Welcome! – স্বাগতম

Thanks for stopping by. Here at Feluda.net we will discuss the original books and films, as well as spin-offs of Satyajit Ray’s inimitable creations. We hope you will find this website useful and that you decide to join us in our ongoing discussions!

A list of what you will NOT find here:

  • You will not find any links to original or derivative works that are subject to copyright.
  • You will not find synopses of books or films here. This is a forum for serious discussion. For the basics refer to Wikipedia.

The opinions expressed herein are solely that of the authors who are not affiliated with any organization. All content is copyrighted with registration  in both United States and India, but you may reuse anything you contribute here. All images are either self-created or  come with a valid fair-use rationale per US and Indian copyright laws.

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