‘Kaalpurush’: A murder mystery where time is the protagonist
As police officer Jahangir drives home, clutching a small glass bottle, his recent completion of a murder mystery assignment brings him no sense of triumph. Unbeknownst to SI Miraz, he is caught in a time loop, unsure of its destination. Shehzad, with his enigmatic persona, sets the stage, leading the audience seamlessly from a Bangladeshi web series' murder mystery to the realm of science fiction. I'm referring to the recent release of "Kaalpurush" on the OTT platform Chorki, a series quickly gaining acclaim for its adept fusion of murder mystery and sci-fi elements.
Produced by Film Syndicate, "Kaalpurush" is the brainchild of writer and director Salzar Rahman. His debut web series revolves around a murder one December night at Dhanmondi Lake, focusing on unravelling the mystery of Faria's death. As the murder investigation unfolds, the narrative delves into the life of an unfit police officer grappling with marital issues, religious beliefs, and doubts, while also exploring the dynamics within a police station.
For all latest news, follow The Daily Star's Google News channel. Gradually, the story evolves into a tale of time travel, uncovering the motives behind the murder and the identity of the killer. With seven episodes, each running for 24-25 minutes, the series not only navigates the events surrounding the murder but also delves into the philosophies of its characters and their societal roles, making for an engaging and thought-provoking storyline.
The series' intro video is beautifully crafted, incorporating effective VFX that authentically represents the concept of 'Kalpurush', a constellation symbolising the passage of time. The seamless integration of the solar system's movements and the theory of relativity adds an intriguing layer. However, the credits in the intro video are too brief, ending before viewers can fully take them in.
From the outset, the ticking of a clock sets the tone, adding tension and excitement to the series. Each twist in the narrative, accompanied by the ticking clock, contributes significantly to the buildup of suspense. With time travel at its core, time itself emerges as the protagonist of the series. Even the episode titles play with the concept of time, maintaining a thrilling atmosphere that resonates with the genre.
Salzar adeptly plunges into the narrative from the very first scene, though some extended subplots occasionally dilute the main storyline, leading to a less-than-clear conclusion. The transition from murder mystery to science fiction involving time travel lacks smoothness, leaving certain ambiguities unresolved. The director fails to clearly define the boundaries of time travel, leaving viewers puzzled about what can and cannot be altered through it.
Despite these shortcomings, "Kaalpurush" boasts strong performances and an engaging script. FS Nayeem's portrayal of SI Miraz is particularly noteworthy, with his immersive performance drawing viewers into the character's journey. Chanchal Chowdhury brings a fresh dimension to his role as Shehzad Chowdhury, showcasing a different side of his acting prowess. Imtiaz Barshon's portrayal of SI Jahangir adds further depth to the series, injecting energy into the narrative with his commanding presence.
Tanzika Amin's depiction of Nova shines as a highlight, offering a nuanced portrayal of a woman navigating the complexities of faith and personal struggles. Amid the recurring themes of murder and violence, Nova brings a sense of relief to the screen, her heart aching for Faria's stillborn child. After a long hiatus, viewers are delighted to see Tanzika Amin back.
Jayanta Chattopadhyay's character in "Kaalpurush" lacks development. Despite her brief screen time, Priyontee Urbee impresses as Faria. Casting director Tania Rahman deserves an honourable mention for her excellent choices.
From the first second, "Kaalpurush" exudes a thriller vibe, masterfully blending sound and music. The sound of the ticking clock is used effectively to build tension. The sound of rowing on the lake, the breath sounds, and the bold dialogue delivery create a crisp soundscape, though occasional echoes are missing. The ambience of Dhanmondi Lake could have been enhanced, and Miraz's press conference should have been noisier.
Despite these minor issues, the sound design by Adeep Singh Manki is commendable. Although "Kaalpurush" is a murder mystery, it avoids harsh music, instead maintaining a consistent rhythm throughout. The balance between music and dialogue volume enhances the series' appeal. Elita Karim's "Mahakal", Arnob's "Bebak Bebagi", and The Watson Brothers' "Amar Notun Ami" perfectly complement the series' moments.
Technically, "Kaalpurush" stands as the pinnacle of Bangladeshi web series to date. Barkat Hossain Palash's photographic direction gives the series a voice of its own, with the camera engaging in a dialogue through pan shots and handheld scenes. Palash's commendable sense of framing is evident in the close shots; every element coalesces into a visually captivating presentation.
The interrogation scenes, with parallel cuts of three different individuals, are masterfully edited. The frames captured around Dhanmondi Lake and its surroundings are visually stunning, though some typographical errors and missing spaces after commas in the subtitles are noticeable.
"Kaalpurush" also experiments with lighting and colour, with notable success. The lighting at Dhanmondi Lake effectively conveys the chill of a winter night. Inside the police station, the dark and gritty tones enhance the frames, while the lighting in Miraz and Nova's home complements the wall colours. The settings in Shehzad's room and laboratory are equally noteworthy.
Art Director Shihab Nur Un Nabi and colourist Saleh Sobhan Anim should be appreciated for their outstanding work.
Jayanta Chattopadhyay's makeup was not quite fitting, and the blood from Faria appeared more like water splashes. Apart from these, the makeup and costume design by Edila Farid Turin added a soothing touch to the series.
The web series consists of seven episodes, but their durations are notably short, around 20-22 minutes each. This raises the question of whether it would have been better as a web-film rather than a series. Certain scenes, such as Miraz's moral policing of a passerby at Dhanmondi Lake, seemed unnecessary. The screenplay does not clarify how Dhanmondi police station visually transforms into Akashnagar station.
However, it is refreshing that the narrative does not repeatedly place the investigation officer at the murder spot, unlike usual murder mysteries. This unique approach makes "Kalpurush" more viewer-oriented. The series avoids unwarranted jump cuts between scenes, maintaining continuity throughout.
Salzar Rahman advances the story directly from previous episodes, although some fundamental flaws remain– for instance, if Shehzad needed hospitalisation due to severe beatings, how could he later leave so effortlessly with Miraz? The scene where Jahangir places a bet on the train's arrival for Tk 20 is redundant when the train's sound is already heard.
Jayanta Chattopadhyay's makeup was not quite fitting, and the blood stains showcased on a murder spot, appeared more like water splashes. Apart from these, make-up by Rubama Fairuzz and costumes designed by Edila Farid Turin added a soothing touch to the series.
Despite these minor issues, "Kaalpurush" remains a noteworthy web-series. Comparing it to works like "Dark" or "1899", "Kaalpurush" deserves recognition in the same genre. The director adeptly portrays the relevance of time and the events surrounding it. Although the series slightly loses its way of trying to depict both ontological and practical time travel, "Kaalpurush" stands as a unique addition to the Bangladeshi web-series landscape in all other aspects.
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