Srijit Mukherjee’s Ek Je Chhilo Raja.

The title  exploits the fabulous implications of a fairy tale (Roopkatha) which always begins with, ’Once upon a time’, ‘ek je chhilo Raja o Rani’.

Yes, the film treats the Raja of Bhawal (Sannyasi Raja) very sympathetically. It also (almost) presents the point of view of the brother-in-law (perpetrator of crime) and woman attorney, well. Not equally forcefully—the tilt towards favouring  the Raja, no matter what, is a given in the text/film/ narrative/ ‘secret desire’ of the work.

As a woman, I ask whether a profligate of that scale, whether a licentious man of that calibre (I mean, the calibre to be so licentious) should be forgiven and celebrated and not excoriated?

The music (incredible, fabulous, superlative) is with him. It is he that the spectacular Kedara composition at the beginning, celebrates. It is he that Rabindranath’s “Maharaja, eky saaje,’celebrates.  Dramatic moments of entry, superb  music, character, moment, stage., magically and powerfully fused. Shreya, Ishan and Sahana have sung so well.

Redeeming qualities of Mahendra? His love of animals and also his subjects, perhaps. Human beings are paradoxes. They are seldom just good or evil. A human being has to be judged on the basis of the actions she/he can commit, both as agents of good and evil. It is the scale that is important. It is the scale that is dramatic. Tamburlaine, Macbeth, Faustus, Othello and even Lear, were not ‘good’ men as such. Or Vittoria Corombona of The White Devil (John Webster,1612). However, they had a quality of incandescence that was rare, that was compelling, that could draw human interest and engagement. Create spaces of identification for the audience.

Mahendra’s life has classic potential as drama. It is a good story and it is well told,  in this case.  

What I really take back from the film is the music.Srijato wrote wonderful lyrics and they were masterfully set to tune by Indrajit Dasgupta. Once again, Shreya, Ishan and Sahana and Kaushiki were all so good.  Can’t say who was better. Shreya Ghoshal is the queen of playback singing. But the way the scene is imagined with Jisshu’s re-entry into that magnificent building and Sahana breaking into, ‘Maharaja..’, just made my heart sing, too.

Jisshu is larger than life. He fits the larger than life role, with his appearance, mostly. Noble, imposing, Raja-like.  All the characters acted well. All. I forget the name of the sister. She is always so good. One of the best that the Bangla scene has to offer. I am so happy that a Bangladeshi actress is doing so well,  in India.

The setting is fantastic and carefully created. The details are good.

Not easy to pull off a story like that,  where characters, stage, setting, demand a grandness of design and execution.  An almost epic venture.

Long after I left the hall, the music resonated in my ears. It still does. That is why I wrote the review.