CHANDRA SEKHAR Ghosh

It is a cut-and- paste job. Kaushik Ganguli adeptly clones Charles Laughton(Witness for the Prosecution); Prosenjit meekly tries to be in the shoes of Peter Clemenza (The Godfather); when the dead son(Amartya) is dragged over the forest floor it is Satyajit Ray (Sadgati). Loose ends: where did Arghya Sen come from, where did he flee to? Why didn't the police even attempt to comb the countryside to nab him? How did the dobbermann smell out its master miles and miles away from the scene of murder? What was Arghya's father's utility in the film? Was he not a take off on Corleone senior(The Godfather)? There are many more loose ends in the film not expected from a fine director like Kaushik.

Gun Island Amitava Ghosh. Ghosh's concern for environment is noble. But whenever a concern pushes out the nuances of interpersonal human relationship from a work of fiction it becomes a halfway house between news and novel. The author is prone to such infirmity. It was evident in The Hungry Tide, so it was in The Glass Palace. His premonitions and prolepses , in this 'newsovel', are a bit trite. It has been my firm view that Ghosh reached his pinnacle as a novelist in The Shadow Lines. Since then it is an uninterrupted downhill journey.