Bengali Film Historian Chandi Mukherjee compares Sandip Rays Tintorretor Jishu with the two Feluda movies directed by Satyajit Ray
Feluda is the talk of the town these days. Feluda and his company have arrived in the city theatres with the painting of Jesus by the great Renaissance artist Tintoretto.
Similarity of Story Line:
1. Feluda and his company while travelling outside their own city meets accidentally the victims family. In Benaras Ghat, Feluda meets Umanath Ghoshal in “Joy Baba Felunath”. In a jungle road near Baikunthapur, Feluda meets Nabakumar Niyogi. In both the cases Feluda went out of the town not because of any investigation.
2. In both the cases a work of art (Ganesh Statue in “Joy Baba Felunath” and Jesus Christs painting in “Tintorettor Jishu”) were stolen with a murder (The idol maker in “Joy Baba Felunath” and the caretaker Bankim Babu in “Tintorettor Jishu”.)
3. In both the films, during the theft there was a stranger in each of the houses. In Ghosh home there was the character Bikash, played by Biplab Chatterjee and the Niyogi house there was the character played by Shilajit.
4. In both the film both Biplab Chatterjee and Shilajit were directly involved in the smuggling of the work of art from the house.
5. In both the films the culprit-villain art-dealer is a Marwari. In “Joy Baba Felunath” it was Maganlal Meghraj and in “Tintorettor Jishu” it was Hiralal Somani.
6. In the both cases the owner of the work of art for safety created fake versions of them. In “Joy Baba Felunath” senior Ghoshal had kept the original Ganesh idol in a Safe Vault, and the piece stolen was a fake one. In “Tintorettor Jishu”, Rabin Choudhury has kept the original Jesus painting in his bag replacing a fake one on the wall. And the truth about the fakeness was revealed at the end.
7. In both the cases Feluda guessed the idea of fakeness much ahead by using his “magaj-astra”.
Dissimilarities in the Story Line:
1. In “Joy Baba Felunath” there was a linear family tree of the Ghoshals. Keeping Umanath Ghoshal in the middle we saw his father and his grandfather in his above and Ruku, his son just next to him.
In “Tintorettor Jishu” Chandrashekhar Niyogi and Rudrashekhar Niyogi is another branch and Nabakumar Niyogi is another branch of the same Niyogi family tree.
The Ganesh Idol was the property of Ghoshal family, but the painting of Jesus was the property of Chandrashekhar Niyogi which is lying now under the custody of Nabakumar Niyogis father at the Niyogi House in Baikunthapur.
2. In “Joy Baba Felunath” the entire thing happens in Benaras. But in “Tintorettor Jishu”, the story takes us to Kolkata, Baikunthapur, Bilaspur and then to Hong Kong, where it ends. Like “Sonar Kella” where Feluda travels from Kolkata to Jodhpur and then to Jaisalmer.
Why Sandip Ray chose “Tintorettor Jishu”?
Sandip Ray wanted to select such a story where there is extensive movement like “Sonar Kella” and also where the structure of adventure has symphony like musical structure of “Joy Baba Felunath”
He thought both the elements are present correctly in “Tintorettor Jishu” and he was absolutely correct. Where “Sonar Kella” was only a chase thriller, Feluda was trying to investigate any crime, but “Joy Baba Felunath” was an investigating adventure where Feluda knew that the Ganesh idol had been stolen by Maganlal Meghraj and he was trying to bring it back and while doing so by using his “magaj-astra” he came to know that the idol was still not in the hand of Maganlal. Here kudos to the uniqueness of Satyajit where he blends adventure with investigation.
Sandip wanted the combination of both the pattern in a single film. Where there will be both chase drama and adventure drama blended with investigation.
Joy Baba Felunath & sonar Kella
Why Sandip failed to impress?
The answer would be simple if we discuss why Satyajit succeeded?
Satyajit knew that every film should have a structure. His film structure was like the western symphonic structure where every thing is measured, where every thing is predetermined.
The structure of “Sonar Kella” and “Joy Baba Felunath” were completely different though the basics remained the same.
Satyajits “Tintorettor Jishu” was an experiment while he wrote it. If it was a great cinematic source, he would have done it after “Sonar Kella”. Instead he did “Joy Baba Felunath” could not be a good cinematic experience as it had a multiple musical structure which was not blended properly. It was his failure as a writer.
Probably Sandip could not get this point and as a result he failed to impress.