Satyajit Ray's Sonar Kella_The Train to a Golden Fortress That Was Arup K Chatterjee. Loading Preview. Sorry, preview is currently unavailable. Satyajit Ray was an eminent poet and writer in the history of Bengali literature. He composed such number of Bengali stories and he formed such an extensive number of charming and criminologist stories. Sonar Kella is he’s one of the best short stories among them. Book Format: PDF File Version Book Courtesy: Download Bangla Books Book Review: Sonar Kella is written by popular Bengali writer Satyajit.

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PDF | 45+ minutes read | On Apr 11, , Arpan Kundu and others and two of his stories Sonar Kella () and Joi Baba Felunath (). The Golden Fort (Sonar Qila) 1. ART HISTORICAL . Extension: In , Satyajit Ray directed a film adaption of the detective book, Sonar Kella, filmed in . To reiterate a cliché, the rail journeys themselves become the destinations, rather than simply being peripatetic wagons.

He is considered as one of the best producers as additionally an author of the 20th century.

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April Learn how and when to remove this template message The film begins with Mukul Dhar played by Kushal Chakraborty , a kid who is said to be able to remember events of his previous life, and soon receives media attention. Hemanga Hajra Sailen Mukherjee , a parapsychologist , offers his help, believing it might help him in his own research.

Mukul mentions that he lived in the Golden Fortress [Sonar Kella] and that their house had lots of gems.

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Hajra decides to take Mukul on a trip to Rajasthan hoping this may help cure the boy. Their first attempt at the kidnapping fails when they pick up another boy, also named Mukul Santanu Bagchi , from the same neighborhood.

Alarmed by this, Mukul's father engages Feluda Soumitra Chatterjee , a private investigator, to protect his son. On their way, they meet Lalmohan Ganguly, a.

Jatayu Santosh Dutta , a popular thriller-writer.

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Meanwhile, Burman and Bose befriend Dr. They push Dr. Also, each mode of travel unravels a unique geography and function of the place. The credit-sequence of the film concludes with a very memorable staccato musical composition. This sequence, which very closely resembles the sound of a train on the tracks, is executed by Ray entirely through brassware, earthenware or wooden tools of daily use, which double up here as musical instruments.

Paradoxically, the clatter of the rails - which is typically a plainsong of industrial or postcolonial modernity - is produced through pre-modern implements. Later, a similar crescendo is built by a Rajasthani folk performer, at night, outside the Pokhran railway station, where the staccato notes are struck on small wooden bars. While at the circuit house in Jaipur, the sound of the hooting of distant engines is often carried by the clear desert wind, at night, as the trains assert themselves in the background.

Most of the drama in the film unfolds on the railways, first on two separate trains, both bound to Jaipur, and later, on one travelling from Jodhpur to Pokhran, and another from Pokhran to Jaisalmer. The villains of the film, AM Barman and M Bose, are introduced to us only through their names on two reservation charts, hung on two concurrent express trains on the Calcutta Jodhpur line.

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Besides, there is the ominous railway clock Gents Clock , shown to us twice at the Calcutta and Delhi railway stations, as a sign of something that is to be wound back and forth, and time ranging across colonial history, memories associated with the trains, or the pages of the Nature magazine, which Feluda references for William James Herschel's fingerprinting technique. The spotlight is on Mukul Dhar the jatishwar or twice-born who claims to have lived in a desert region in the vicinity of a golden fortress, in his previous life.

His father, he says, dealt in gemstones.

Newspaper coverage of Mukul's story reaches the two conmen Barman and Bose. Meanwhile, a well-known parapsychologist Dr Hemango Hajra volunteers to take Mukul on a journey to Rajasthan to find the fortress the child sees in his visions, and then tries to replicate in his crayon-sketches.

The conmen follow, and are in turn followed by Pradosh C Mitter Feluda , the private investigator, and his nephew and aide, Topshe. The Sonar Kella Golden Fortress itself is the vehicular trope that becomes the tour de force - the transcendental stratagem - behind the several journeys on long-distance trains.

Two sets of journeys intersect on the trains. First is the train of the Calcutta-conmen, seeking the hidden treasure.

It is the same as the one on which Mukul and Dr Hajra the parapsychologist are on, bound for Jaipur. Second is Feluda and Topshe's meeting with the writer Lalmohun Ganguly Jatayu , in Kanpur, who then becomes their companion for the rest of the adventure.

File:Sonar kella, Jaisalmer2.jpg

Satyajit Ray himself jocularly spoke about the train-chase sequence that he achieved using one camera, where 'Kurosawa would be using nine'. Nik Wheeler. Both the journeys unfold in first-class compartments, and are replete with instances of how consumption of food becomes an assertion of Bengali nobility in passage.

Breakfast comprises bread and omelettes, eaten typically, but uncomfortably, with a fork, aboard a fast-moving train. The intersections display the potential of the Indian Railways in hosting accidental or staged meetings with celebrities, like-minded intellectuals, villains, thugs, and businessmen, therefore the diversity of India in the mobile microcosm.Raj C.


Authority control BNE: Among these was the neorealist film Ladri di biciclette Bicycle Thieves by Vittorio De Sica , which had a profound impact on him.

Meanwhile, a well-known parapsychologist Dr Hemango Hajra volunteers to take Mukul on a journey to Rajasthan to find the fortress the child sees in his visions, and then tries to replicate in his crayon-sketches. Other references to Ray films are found, for example, in recent works such as Sacred Evil , [95] the Elements trilogy of Deepa Mehta.

Rahman A. Kunju Kurup Shambhu Maharaj V. Feluda confronts and captures Burman, telling him that there never was any treasure. Archived from the original on 8 September