KANGAL MALSAT ( 20013 )
 

Fyataroo – Flying human beings. Masters of Mischief. Sultans of Sabotage.
Choktar – Bachelors of Black Arts. Wizards of Witchcraft.

 

Bhodi, the head of Choktars, initiates a total war against the ruling Communist Party in West Bengal. Fyataroos join hands with Choktars. Advised by Calcutta’s progenitors Dandabayas (ageless primordial talking crow) and an Indo-colonial half-breed Begum Johnson (a contemporary of Job Charnock 1630-1692 and Warren Hastings 1732-1818) erupt a historic insurrection of Fyataroos and Choktars. They jointly launch guerrilla attacks against the communist regime of 34 years. It is a flying kick aimed at the government’s solar plexus. Total chaos is unleashed in the city of Calcutta. The film dissects almost everything wrong in the city with a cinematic knife sharpened on trenchant farce and fantasy. Collective schizophrenia sets in. There is hardly anything by way of a story, but what little there is involves two groups of rebels, the lowly Choktars and the aerial Fyataroos, mobilized by the quack occultist Bhodi Sarkar to fight against the Government. In the melee that explodes, the Choktars unearth cannons underground, the Fyataroos bomb administrative buildings and the Police HQ with brickbats, and the poor cops have no answer to the assault. And that reflects the seething rage barely underlying the chaotic calm. Skulls dance in crematoria and fantastic flying-discs flutter in the skies and cry anarchy, resident ghosts gossip and prattle, and the police officers are in total confusion. Stalin talks down from his portrait on the wall to a stunned disciple, and Communist Chief Minister unable to negotiate the disorder unveiled, storms about ordering everyone “Do it now!” Government and Police are forced to surrender and offer a peace proposal to the joint force. The actual fall of the Communist Government in May 2011 after 34 years of rule in West Bengal marks in a new era in Indian politics. The new 'changed' Government brings new sets of problematic. But the film only touches this advent and signs off.



Director’s Note:

For a long time I was looking for something that is as scathing and sharp as Kangal Malsat. The political carnivalesque and the scornful burlesque of the novel prompted me to make a film out of it. The roughness, rawness and the immediacy are the essence of this film. I wish to use the simple cinematic techniques to visualize the flying men (Fyataroos), flying saucers and all the hyper-realistic moments of the film. Like elementary green screen background shoot and use of 2D CGs. Ghosts fade in and fade out on the screen fluidly. The ancestral crow is an actor with black feathers and a special face make-up as a Kathakali dancer. (Further reference: As innocent as the ghosts in Apichatpong Weerasethakul's "Uncle Boonmee Who Can Recall His Past Lives"). The actors playing the English/European characters will be dressed in colonial velvet costumes and made up with white and red masks as they have appeared on Indian stage and folk theatres for centuries. Indian cinema and television have successfully used 'kitsch' as a potential creative energy. It is seen everywhere, in all the overcrowded roads, hawker occupied sidewalks, cramped households, wall calendars, political graffiti, and in the political rhetoric embedded in the daily reality of the common herd in this country. And indigenous folk forms fundamentally use improvisation, immediacy and the ability to subvert the social paradoxes. It is raw, piercing and scathing. I want to use the urbane kitsch, simple idioms of the folk visual arts, unrefined symbols and signs of the metropolitan visual landscape as an aesthetic choice in the visualization of this film. The language used in the film is also connotes that uncouth, raging quality. The cinematographic style and the sound design of this film will remind the Indian audience of the organic innocence of the rural folk art and the brusque gullibility of the marriage videos made with the use of generic computer generated components. The acoustic and temporal values move with ease and élan within the framework of the film. The frenzied radical content of the story complements the coarseness of the cinematic idiom chosen. The film is a portrayal of our dark times but that which is negotiating this darkness with intensity, fun and frolic. It will be digitally shot (Canon 5D) and will use the plethora of tonal variations available in all the nook and corners of the city. The sound design (sync recording) has a very important role to play to bring out the acoustic latitude of the film. I have plans to use as many as amateur and new actors for the characters. They will be initiated in the project with workshop sessions.




Main Cast
     
Kabir Suman
Kaushik Ganguly
Kamalika Banerjee
Biswajit Chakraborty
Santilal Mukherjee
Dibyendu Bhattacharya
    Joyraj Bhattacharya
     
 
Main Crew
     
Story - Nabarun Bhattacharya
Screenplay & Direction - Suman Mukhopadhyay
Cinematography - Abhik Mukhopadhyay
Editor - Arghyakamal Mitra
Sound Design - Sukanta Majumdar
Sound Mix - Dipankar Chaki and Anirban Sengupta (Dream Digital, Kolkata)
Sound Mastering - Bhaskar Roy (Whistking Woods, Mumbai)
Music - Mayookh Bhowmick
Song - Kabir Suman
Ex. Producer - Mallika Jalan
Producer - Pawan Kanodia
Technical Details
     
Runtime - 1 hr 53 mins (113 mins)
Aspect Ratio - 2.35:1
Country - INDIA
Year - 2013
Language - Bengali
Color - Color
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