Directed by: Srijit Mukherji
Starring: Prosenjit Chatterjee, Anirban Bhattacharya
Genre: History, Drama, Thriller, Mystery
Release Date: 2 October 2019
Running Time: 137 Minutes
The story of the film is based on a mysterious sadhu, Gumnaami Baba, from Ghaziabad whom some claimed to be Netaji
Gumnaami is an upcoming Indian Bengali mystery film written and directed by Srijit Mukherji and produced by Shrikant Mohta and Mahendra Soni under the banner of Shree Venkatesh Films. Actor Prosenjit Chatterjee will be seen in the role of Gumnaami Baba.
This movie is being inspired by Anuj Dhar and Chandrachur Ghosh’s upcoming book on mystery. The principal photography began in May 2019 in Asansol, West Bengal. The film is scheduled to be released theatrically on 2 October 2019.
The director of the film Srijit Mukherji courted a controversy in February 2019, after Netaji Subhas Chandra Bose‘s grand nephew Chandra Kumar Bose criticized him over portrayal of Gumnami Baba as Netaji in his upcoming film.
The teaser of the film was released on 15 August 2019 by Shree Venkatesh Films.
The soundtrack of the film is composed by I.N.A and D.L. Roy, whereas music and score is composed by Indraadip Dasgupta. The lyrics are by D.L. Roy and Captain Abid Ali Mumtaz Hussain.
Gumnaami Movie Trailer & Related Videos:
#क्या नेताजी सुभाषचंद्र बोस ही थे गुमनामी बाबा?
#Srijit Mukherji visits the house where Gumnaami Baba lived
#From Prosenjit to Bose | In Conversation with Prosenjit Chatterjee
Gumnaami Movie Songs:
Subhasji (সুভাষজী) | Sonu Nigam
Kadam Kadam (কদম কদম) | Ishan Mitra
Dhawno Dhanyo (ধন ধান্য) | Dwijendralal Roy
Subh Sukh Chain | Babul Supriyo | Prosenjit, Anirban
This time it’s the controversial nature of Subhas Chandra Bose’s life and death that occupies his creative spectrum.
Srijit Mukherjee is unarguably the most prolific filmmaker of contemporary Bengali cinema. He switches from intimate human portraits to wide-canvassed bio-pics with the ease and fluency of a pro.
This time it’s the controversial nature of Subhas Chandra Bose’s life and death that occupies his creative spectrum. Based on the controversial Mukherjee Commission Hearings, the film fuses a fictional Orson Welles-inspired hero who, like Citizen Kane, sets out to uncover the truth about the death of Netaji, with a fund of historical facts that permeate imminently into the narrative.
It is a fascinating character study of an obstinate leader determined to free India from foreign rule, though the film is not fully freed of foreign influences (“Citizen Kane”, “Rashomon”). Ironically, Anirban Bhattacharya as the Netaji-obsessed journalist Chandrachur Dhar gets much more footage than Bose, who is played by the redoubtable Prosenjit Chatterjee as a cheerless (didn’t Netaji ever smile?), stoic, mumbling selfrighteous statesman whom both Gandhi and Nehru (played respectively and respectfully by Surendra Rajan and Sanjay Gurbaxani) conspired to sideline from the top post.
Most of the narrative tries to piece together the provocative hearsay regarding Netaji’s death by weaving in and out of lives that are documented by history, and fomented by imagination.
Believe it or not, there is a marital drama tucked away in the folds of this historical treatise. While Chandrachur becomes progressively obsessed with Netaji (he even buys rounded spectacles like Netaji), his wife (Tanushree Chakraborty) is understandably embarrassed to share the marital bed with this unlikely competitor for her husband’s attention. She quits the marriage while her husband continues to mumble Netaji’s name.
There is an unintentionally funny bedroom sequence where the wife tries to seduce the journalist as he mutters facts about Netaji absentmindedly. Finally when Chandrachur’s quest for the truth hits a permanent roadblock he sits in his workroom burning all the books and material on his obsession.
Sanjay Leela Bhansali’s Devdas couldn’t have been more paranoid even if he had tried.
The film could have avoided being so literal in its quest for the truth. However, there is much to be applauded in “Gumnaami”. Director Srijit Mukherjee feeds on the nation’s relentless curiosity about Netaji’s death by drawing hypothetical situations in a seamless flow of known and unknown facts. For the sequences in the 1940s, Mukherjee makes telling use of black-and-white images with some interesting ‘period’ touches that don’t go overboard.
Since the film follows the proceedings of the Mukherjee Commission, it tends to get wordy. But when we come away from “Gumnaami” we do get a sense of a mysterious nationalist who has been wronged by history. And that’s more of a takeaway than what most bio-pics give these days.