When I first thought of filming the Byomkesh stories and went over to Prabir Chakravarty, the right holder in 2008, I was convinced the venture would be exciting for the Bengali audience. Apart from Feluda started by Satyajit Ray and followed up by his son Sandip, there had been no major series on a popular detective on Bengali screen. Stray attempts with Kakababu by Tapan Sinha and Pijush Basu. One Byomkesh by Manju Dey long back and just one by Ray. Considering the bulk of detective fiction in Bengali literature, I was always curious why the makers of the ’60s, who depended so heavily on literature, never thought of bringing out a franchise on Kirity Roy, Byomkesh, Parashar Barma or even Joyanta Manik.

Coincidentally, Rituparno Ghosh was also planning Byomkesh at a similar time. I discussed the issue with him at length and told him that it will not be just one-off, but a franchise. I even floated Anjan Dutt Production for the Byomkesh series. I went on a serious hunt for my lead. A lot of people asked why I was looking for a fresher and not an established persona.
In Chiriyakhana, Ray cast Uttam Kumar as Byomkesh, reminded Rituparno. I told him, “Firstly I am not Ray. Then, my Byomkesh cannot look like a film star. He should look like any other average Bengali, but stand out because of his gait and intelligence. Through the films, we will make him popular. He should carry off a dhoti and look domesticated.” (Manikbabu had got rid of Satyabati.) The USP of Byomkesh is that he is one of the very few married detectives in the world. It will be like building a brand. I finally found Abir (Chatterjee) and honed in on Saswata (Chatterjee) as Ajit. When Rituparno saw Abir’s first look he liked it. He backed off and wished me luck. 

My first producer, a Mumbai-based company, suddenly backed out a few days before the shoot. We were all thrown completely off-balance. I was adamant and refused to postpone shoot. A friend called Pritimoy Chakraborty introduced me to producer Kaustuv Roy, who without batting an eye picked up the project overnight and the ball rolled…. 

I SALUTE THE GREAT WRITER, THOSE WHO TRUSTED ME, AND THE BENGALI AUDIENCE

Since then Byomkesh Bakshi has been a huge adventure. Tumultuous opening of the first Byomkesh (Adim Ripu). Huge box-office collections. Abir’s success. Followed by financial troubles. Holding on to our faith in each other. Postponement of release of the third Byomkesh (Byomkesh Phire Elo). Finally, Abir deciding to leave for Feluda… it has been one hell of a roller coaster. When I look back, it seems Saradindubabu’s spirit had been testing our commitment to the brand. 

Today, as I visit the halls, and see the crowd queuing up or pouring out, congratulating me and my entire team, pleading with me for another Byomkesh, I cannot help but salute the great writer and all those who trusted me and my dream. And alongside I would like to thank the Bengali audience, young and old, who still care for the good old-fashioned Bengali called Bakshi. 

My other films, which made me what I am, from The Bong Connection, Chalo Let’s Go..., Madly Bangali, Ranjana… have nothing in common with Byomkesh. In terms of script or style. It was a conscious decision on our part not to flaunt style, flaunt production scale, not to opt for noir, not to reinterpret or modernise… but to stick to old-fashioned narrative. I always asked myself how would Ajit have made the film, had he been a filmmaker? And it worked. Even to those young folks who loved Bong Connection and Madly... for its erratic, fragmented, new-age style.

Filming a period piece within a restricted budget is tough. But both Indranil Mukherjee, the cinematographer, and Arghyakamal (Mitra), the editor, agreed that we should take just that much license for filming an established text, not more. Stick to the astuteness, austerity and wit of the original.

Neel (Dutt) came up with a tremendous theme score, which became so popular that even the recent TV series production of Byomkesh asked him to do their score. My executive producer Sanjay Pathak helped me in wrapping up the project in reasonable, recoverable budgets.

THE OLD-WORLD CHARM OF A DHOTI-CLAD SATYANESHI ROOTED IN ITS PERIOD

When we started in 2009, many in the industry and outside asked me why I was not modernising Byomkesh, since Feluda too has been transposed into today’s times by Sandip Ray. I was convinced that since Byomkesh has not been done to death, the old-world charm still is valid. Certain texts simply cannot be modernised since its plotline is deeply rooted in its own period. The dhoti-clad satyaneshi cannot wear trousers or carry cell phones. The fact that he is deeply domesticated with a child in a chaotic household and does not have the solitude permitted to Sherlock or Pradosh Mitter to ponder, was extremely crucial. He is connected to high authorities in Delhi but leads a humdrum life. He doesn’t own a gun. He borrows it from the local cop whenever he has to. He follows his suspects and very often waits in the dark to see their secrets. He very rarely engages in physical fights. His courage, ability to question and instincts lead him to the truth. He is ruthless when it comes to morality. His adversaries are extremely intelligent with highly twisted minds. All his adversaries have justifications for their crimes and Byomkesh sometimes understands them, lets them commit suicide, even escape. All these aspects have haunted me for days, more than the plotlines. Based on these aspects I chose Abir, who exudes a cool, intelligent Bangaliana. 

My producer Kaustuv Roy had the conviction to hype him up in his publicity and create that awareness of that old-fashioned Bengali detective without any frills. We were direct. We trusted our literature.

THANK YOU, MY AJIT.... MY BYOMKESH... MY... 

Saswata Chatterjee is a versatile actor. But me along with my friend, a film studies professor in JNU, believe that he is simply unique as Ajit. Despite all other aspects, he holds our Byomkesh films together. Very quietly, very imperceptibly he gives it that Saradindu hallmark. At first I thought of him as Byomkesh, told him that, then shifted him to Ajit. But his utter honesty to the craft of acting and sheer brilliance as a committed actor gave my Byomkesh movies that unique touch without which the movies may not have worked.

As I step into a stage where I am forced to look for a new Byomkesh to continue the franchise, I question whether I should change the whole family. How can you have a new Sherlock with an old Watson or an old Bagha with a new Goopi? I have spent sleepless nights and numerous pegs debating the issue with myself. I ended up asking myself how would Ajit have faced this issue? Would he stop writing tales about a new friend, if that friend was an equally good truth-seeker? Saswata will always be that storyteller, the one who binds the story and comments on it. Ajit/Saswata is not an observer or comic relief. Saswata is like Saradindu himself to me. I pray that he does not walk out on me. I am deeply indebted to him for being the Ajit of my dream. Thank you Saswata…

I thank Abir for giving me the Byomkesh I desired. You grew with me, alongside, as I improved on my scripts from Adim Ripu to Beni Shanghar. You decided to opt for another sleuth called Pradosh Mitter, perhaps greater or lesser, is your choice and despite initial crises and hurt, I will forever remain grateful to you for giving your best for the current Byomkesh Phire Elo. Goodbye, my friend. It was great working with you. With your farewell you opened up a new challenge for me. I cannot and will not rest on laurels and improve from where you left with my new Byomkesh. That is the fun, Abir. To be able to challenge each other. That’s what movies are all about. 

I thank all the other actors and actresses who gave their best from the first till the third, changing their looks and characterisations despite being cast repeatedly. The brand has been like one big family who respected Saradindu and challenged themselves to excel. I am grateful to Chanda Dutt for pushing me to recast you folks by giving you a completely different look. 

I have taken little liberties with the texts in order to make them cinematically valid. Without tampering the main pillars, I will keep altering and reworking on the suspense as I gear up to shoot my next Byomkesh. I thank my audience from the core of my heart once again for holding on to their love for Bakshi and hope to see you all in the halls when my new Byomkesh walks in. 

After reading this article I want to tell Anjan Dutt...Tell t2@abp.in