![]() ![]() Each of them - even the beggar on the street - has a presence and personality. But Ghosh continues to spell out his characters in detail. Someone like the enigmatic, oddball LIC agent played by Saswata Chatterjee in the prequel goes missing here. The filmmaker had a far more whimsical range of people to play with in For Ghosh, places are also characters in themselves - with sights and sounds. Then there’s the constancy of songs in the surroundings, specially the Bengali versions of popular Hindi film numbers - from “Ye mere bandhe haath” to “Do naino mein aansoo bhare hain” (not to forget the hat tip to Basu Chatterjee’s It’s a slice of life redolent with nostalgia.īut the film also travels back and forth in time (with the device of a diary) beyond Chandan Nagar - to the cold and creepy Kalimpong and the bustling Chinatown in Kolkata. Kahaani was a sensuous ode to the sprawling Kolkata, Ghosh tries to bring alive the small town feel of the outskirts with a melange of sights and sounds - the rain-wet nights, the local train to Howrah, the jol bhora sandesh, the modest homes and neighbourhoods, the decrepit, sleepy cop stations with their peeling wall paint, the crumbling hospitals. However, the storytelling itself - its highs and lows - are highly reminiscent of the prequel (if you can call it that, for the sake of convenience). Kahaani 2 tries to strike a bigger emotional chord by highlighting a significant yet unspoken issue, brushed under the carpet in many refined, cultured families. While keeping up with the suspense in the predecessor, Filmmaker Sujoy Ghosh returns with actor Vidya Balan after four years in the second of his woman-centric thriller franchisee, which tells a new, unconnected story, about a mother’s search for her kidnapped daughter (as against the quest for the missing husband in ![]() Everything changes but nothing really does. ![]()
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