KRANTIKAAL (CRITICAL ENCOUNTER)

India, 2005, 118 minutes, Colour.
Directed by Sekhar Das.

Krantikaal is an interesting and significant Bengali film, very different from the light entertainment coming from West India and Bollywood. This is a film from Kolkotta, in the tradition of Satiyajit Ray. The director is Sekhar Das who has produced a number of elegant films.

The film is set in north-eastern Bengal. It reflects the effects of Partition of the 20th century as well as terrorism in the beginning of the 21st century and the use of terrorism by separatist movements.

The film is set in a remote town which also houses a wealthy estate. A terrorist is wounded and takes refuge in the estate, having an effect on each member of the household, communicating with an aged grandfather, the father-in-law who is still living in the past, a civilised gentleman, and the daughter-in-law who relates well to the terrorist and supports him.

The film makes audiences look at terrorism from the different perspective, from the political aspirations, to questions about the use of violence, to the human element in supporting life.

The film is beautifully photographed, shows the countryside to advantage as well as the mansion.

The film also has echoes of contemporary issues with people watching news about the Palestinians, people watching Vertigo on television, the place of the piano and musical culture in the household.

An interesting film which takes audiences from outside Indian into the experiences of the subcontinent – and an interesting experience for an Indian audience to think more deeply about issues through films.

1. The impact of the film for India, Bengal? Political and national issues? Universal issues and audiences?

2. A film of elegance, classical style, beautiful framing? Editing and pace? The insertion of songs (for characters, part of the plot, for commentary)? The musical score?

3. The title, the critical encounter in India of its various provinces, various language groups? The aftermath of partition? The 21st century and terrorism? Separatist movements? The message of revenge versus patience?

4. The prologue: the family, descended from royalty, the elegant palace, the interiors? The father-in-law playing the piano? A world of decorum? Masters and servants? Memories of India of the past? The suddenness of the attack, the staging of the battle, attack, soldiers and deaths?

5. Rajib, his part in the attack, his escape? His comments on his friends’ deaths? With the gun, intruding into the house? With Sabarna, the threats? The threats to Debi? Her fear? The hostage situation? His desperation – yet civilised and a gentleman? Sabarna and her handling of the situation?

6. The portrait of the household: the grandfather, aged ninety-two, dementia, his wandering, inability to speak, communicating in sounds and feelings, emotions, eating, his joy, his apprehensions and fear? The father-in-law and his memories of the past, his skill at the piano, a civilised gentleman, intelligent, his intellectual conversation? His initial attitudes towards Sabarna, disapproving, her husband leaving her, his changing attitude? Debi and her age, the breakdown after her father’s departure, her ability to sing and play the piano, psychosomatic ailment, in the wheelchair? Her fear? Watching television (Vertigo)? The Palestinians? Her being charmed by Rajib? The range of servants? The women from the refuge and their illnesses?

7. Rajib, settling in, the grandfather’s room, supervision? Coping? Sleeping, his dealings with the old man? The day passing, ordinary things happening, the phone calls? His posing as a relative? The newspaper’s arrival – and his shaving and cutting his hair?

8. The father-in-law, his realisation who Rajib was? The confrontation, accusing him of audacity? His singing with his granddaughter – and the Tagore and the beauty of nature and harmony? The heart attack, his being calm? His talk with Rajib about India, the different separatists’ points of view, his hankering for the past – and their critical agreement?

9. The old man and his fear, delights, the crown and Debi, his later desperation seeing what happened to his son?

10. Debi, the change, her singing with her grandfather?

11. The servants, coping? Their loyalty?

12. The women downstairs, the woman who cried all night, refusing food, the grandmother and her story and her being abandoned? Rajib and his sympathy, helping the women? His realising that one of the women was a spy? The spy’s ringing the police?

13. The woman from the women’s institute, her concern, discussions with Sabarna, coming to visit the house? The social concern?

14. The college, the students and their admiration for Sabarna? The teachers, the common room? Her friend, in love with him, talking about the hostage situation, his wanting to visit? His coming to the house, Rajib’s reaction, their discussion, memories of an armed past, idealism, practical action, violence or not?

15. The police, calling to warn the household? The phone calls? Police station, the spy? The final attack and killing Rajib?

16. Rajib, his kindness, the discussions with Sabarna, her urging patience instead of revenge? His story, his family, oppression? The attack, defending himself, knowing that he would die? His statement of his spirit living on in others?

17. The beautiful locations, the insertion of nature and beauty, especially during the songs, at the beginning of the day? The palace and its dignity? The songs, their being intercut with nature?

18. The ending, the camera ascending to the sky – and the open door on the roof?

19. The action, the people, the palace – symbolic of an India that was past, trying to cope with the 21st century?