Kabuliwala (1957)

This is a film I’ve been meaning to watch for a long time now—ever since someone told me that the 1961 Balraj Sahni Kabuliwala (in Hindi) wasn’t a patch on the Bengali version, directed by Tapan Sinha and starring Chhabi Biswas as the eponymous Afghan. I was reminded of it again last year when, for Tapan Sinha’s birth centenary celebrations, Anu (from Conversations over Chai) wrote this wonderful review of the film.

Then, some time back, I began reading 100 Indian Stories (edited by AJ Thomas, published by Aleph Book Company, 2025)—and one of the very first stories in the collection was Rabindranath Tagore’s classic The Kabuliwala.

I figured it was about time I watched Tapan Sinha’s take on the story.

The story begins with scenes (no dialogue, only somewhat sonorous singing in what seems to be Pashto) in rural Afghanistan. Peaks loom high above the valley, a train of camels moves rhythmically along a narrow mountain, and we see Rahmat (Chhabi Biswas) hard at work, but taking out time now and then to play with his little daughter, whom he’s obviously deeply devoted to.

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Jighansha (1951)

Meaning, Blood-lust.

More than Hindi cinema, I think, Bengali cinema has drawn from Western literature: including not just the more serious literary works, but also a good deal of popular literature. Of these, mysteries have been adapted often (possibly a reflection, too, of the fact that there’s been a long and much-respected corpus of Bengali mystery and detective fiction?) This is one, based on Arthur Conan Doyle’s The Hound of the Baskervilles.

The film begins with a brief and mysterious scene in which somebody finds a dead body among the marshes of a principality called Ratnagarh. We are never shown the face of the man who stumbles upon the corpse; but the news of this death is brought to Kolkata, to the ace detective Smarajit Sen (Shishir Batabyal) by Dr Palit (Kamal Mitra), the doctor at Ratnagarh. Sen’s assistant, Sanyal (?), is also present.

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