Unfortunately, he died before he could complete the last one, Bishupal Badh (The Killing of Bishupal), and so perfect seems the murder described in that story that I know no one who has come up with a plausible solution. Over the next 38 years, Saradindu Bandopadhyay wrote 32 more stories-including several novellas-featuring his hero. Binge watch it if you can.Byomkesh first appeared in the short story Satyanveshi in 1932. She is a bystander as far as crime-fighting is concerned, but her involvement with the man at the centre of all things is as strong as ever.īyomkesh is a well-packaged entertainer. The series, however, doesn’t engage her much with the nitty-gritty of an investigation, as some versions have done in the past.
She manages to pull off her role with the subtlety and poise Satyabati’s character demands. Riddhima is a revelation, as she goes about playing the woman who keeps pushing Byomkesh to do better. Suprobhat takes over the mantle with equal ease, maintaining perfect character continuity. Even Subrat manages to create the perfect blend of intellect, inquisitiveness and naivety that Ajit always is. He also defines the subtle progression of Byomkesh Bakshi from a young and energetic beginner to a seasoned and mature individual to perfection. He plays the master sleuth with elan, never once deviating from the traits the character demands.
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When it comes to performances, Anirban proves once again that he’s a natural when it comes to getting into the skin of characters. But the changed sequence, complete with a jazz score, is too contemporary to blend in. It changes according to episodes and content, but maintains continuity. The beauty of the original sequence is that it blends seamlessly with the inherent simplicity of Byomkesh mysteries vis-à-vis human emotions and plot complexity.
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Someone somewhere wanted to pull off a mirroring effect a la Dark and so many other web series but failed badly. The only visual jerk is the sudden change in the title credit sequence in Season 4.
The music too is engaging and blends in perfectly with the visuals. Even the DoPs Basudeb Chakraborty, Ayan Sil and Sudipta Majumder have done a fantastic job in creating that aura of mystery using the perfect balance of light and shadows. The art direction department certainly deserves applause for this feat. There’s no deviation in any episode, doesn’t really matter who the director is. Costumes and makeup apart, the houses, the furniture, cars, the paraphernalia, everything has been used to create Byomkesh’s time and age to perfection. What will strike you is the attention to detail. Even the replacement doesn’t take much time to sink in, as there is hardly a continuity break in the look and body language of Ajit though the role is played by two characters. Every actor has done total justice to their roles and a bit more. And except a recasting of Ajit from Season 4, when Subrat Dutta is replaced by Suprobhat Das, the casting is perfect. Season 1 has been deftly used to establish Anirban Bhattacharya as the new face of the timeless sleuth, while introducing us to the new Ajit and Satyabati. The Sherlock model of dedicating a season to one or two mysteries has really worked wonders for this series. Season 4 presents Agnibaan in two episodes, while Season 5 is two episodes of two Byomkesh classics - Dushtochakra and Khnuji Khnuji Nari. Season 2 has three episodes based on the bestseller, Rakter Daag, while Season 3 is a two-part presentation of Bandyopadhyay’s Shajarur Kanta. Season 1 presents two Byomkesh Bakshi mysteries by Sharadindu Bandyopadhyay, ArthamAnartham and Makorshar Rosh in two episodes. Byomkesh is an engrossing presentation of the whodunits we know so well.
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