The Storyteller
Introduction
The gaze that I chose to opt for while watching the Hindi film The Storyteller was through a social commentary on cinema as we know it. In times when remakes are still doing the rounds, and re-releases are used as tools far beyond the stated nostalgia, this subject matter is almost an anti-thesis of it. There are themes of celebrating creativity dipped in culture that forms the fabric of the storytelling. And in many ways, this adaptation of the Satyajit Ray classic ‘Golpo Boliye Tarini Khuro’ remains a firm reminder on the impact of a creative jail that we are witnessing in the industry today. One key ingredient to the retelling of a Satyajit Ray remains in its pacing – it needs to be grounded, it needs to be leisurely paced, to truly imbibe the underlying layers of the story. And the filmmaking here is absolutely on point with its unhurried storytelling that draws you into the drama, allowing you to invest in the characters while gently depicting a conflict and resolution that is so poetic in nature, that comes across as something refreshing from the other revenge thrillers doing the rounds. Revenge is a dish best served cold, remember?
Story & Screenplay
Adapted by Kireet Khurana, one of the strongest aspects of The Storyteller remains its characterization. So when we are first introduced to the protagonist Tarini (Paresh Rawal), there is a sense of soothing calmness to his demeanor that you witness, almost devoid of emotions even as he makes his way out of his office for the last time. In an early scene, you see one of the younger employees escorting him to his vintage car while being in awe of his storytelling method, something that he claims that he will miss. As you spend time with Tarini, you realise that there is a sense of emptiness in his life that he holds onto, along with a dash of nostalgia that stems from his reminiscence of his late-wife Anuradha (Aninditaa Bose) coaxing him to pursue the art of storytelling. Now at the age of 60 and having retired, you see Tarini wanting to consider the option while having rambling rants on capitalism with his son who is in US. Seldom does Tarini know that he would soon be the latest victim of capitalism.
On the other hand, you are introduced Ratan (Adil Hussain), a Gujarati businessman suffering from insomnia who hires Tarini as a storyteller. There are layers to Ratan and his persona – you are witness to his ‘want’ for creativity while never putting in effort in it. In a scene, you see Tarini questioning the books that he witnesses in the room, to which Ratan replies that the only books that he understands are the account ledgers of his business. But he also states that he wishes to gain knowledge by being surrounded by books – to which Tarini states that the only thing free in this world is ‘stupidity’. And this also states the symbiotic relationship between Tarini and Ratan, which is a common meeting point of two-cultures.
There is a beautifully understated commentary on the contrasting cultures in the drama, that is represented through its two protagonists. Tarini is a Bengali who loves his ‘Maach’ (fish), often referring to the dishes as ‘delectable’. On the other hand, there are no signs of non-veg in Ratan’s household, except the fish in the fish bowl that is placed in the kitchen. There is a subtly playful energy when Tarini goes in search for fish at a local fish market, while coaxing Ratan’s househelp Manikchand (Jayesh More) to prepare fish for him. In many ways, Tarini is synonymous to the house-cat of Ratan who vies on the fish in the fish-pond, while almost being devoid of the delicacy. In a scene, you see Tarini staring at the purring creature before closing its door on it without realising that the cat is mirroring his stature in Ratan’s household. On the side, Tarini finds comfort in Suzie (Tannishtha Chatterjee), a librarian who is symbolic of his home away from home. And this charming little drama thrives on these delectable relationships.
In many ways, Tarini and Ratan are opposite sides of the same coin. Tarini is a widower while having the art of storytelling instilled in him, Ratan is unmarried but deeply in love with his childhood sweetheart who is recently widowed, yet having the lack of a storytelling technique. And so, the common thread that links Tarini and Ratan is that of creativity and love, while almost doubling up as a celebration of the same. The meta-commentary in the narrative stems from a simple story of greed that is narrated by Tarini to Ratan, which has an underlying theme of capitalism (something that he hates). But this story itself blossoms for the worse for Tarini, leaving him as the tree that is cut by the evil businessman (read : Ratan) who chose to sit under it in extreme weather (in this case to listen to his stories). The concept of plagiarism is understated here with muted emotions that never take the form of rage. The lesson for everyone is never to be reactionary with their emotions, just like Tarini opted for.
The events leading up to the final act are quite deceptive with the motivations of Tarini, who contradicts the ‘expected’ narrative while sticking to his duties. The subtle tension between the two individuals is delicate but never overwhelming or raging, even as you witness the mutual respect that remains intact between the two individuals. Yet, it is the late commentary on the repercussions of plagiarism that really stayed with me. The commentary remained layered, subtle and dignified while never crossing the lines of decency, and that for me was the biggest takeaway. What that did was allow some sort of redemption for a character to improve, even while sticking to the understated tonality of the drama, and its themes of two individuals that are always connected through stories despite differences in cultures. For me, the symbiotic relationship at the end was perfectly depicted while each character transforming into a story for the other. The screenplay is beautifully penned and makes for a subtle yet lasting impact!
Dialogues, Music & Direction
The dialogues are soothing and understated that go perfectly with the understated tone of the drama. There is a calming presence that laces the lines while never being verbose or heavy with its messaging. The BGM is beautiful almost coating itself with an understated brush of paint that is never eye-catching but rather serene in nature. And this also extends to the clashing depiction of the two cultures that is always overlapping and never binary, through its characters. And the notes perfectly reflect on this sentiment efficiently. The cinematography is beautiful, allowing every setting to play a quiet little character that accompanies the narrative. For instance, the quiet walls of the library signify the quiet mood of comfort that Tarini has towards Suzie. Elsewhere, the rich heritage of the city of Kolkata reeks of British imperialism, even as a character quietly states that the British did loot and fill their coffers but did contribute to the rich heritage of the city (which is true). The editing is seamless while allowing the drama to flow like a stream of water without any interruption. As a result, the underlying emotions flow with it while allowing the impact of it to stay with you long after the film has ended. Director Ananth Narayan Mahadevan has beautifully caught on to the intrinsic tonality of the original source material. The idea was never to bend away from it, while adapting it with the same sense of sensitivity here through the world building and characterization. And that for me remained the biggest strength of the drama that had some complex themes to it while being layered with the storytelling. The retelling here is sincere with a lot of honesty infused that makes for a refreshing watch.
Performances
The performances are wonderful by the members of the cast. Revathy as Saraswathi remains very dignified with her act. Rohit Mukherjee as Bankim and Senjuti Roy Mukherji as Joyoti are first rate. Aninditaa Bose as Anuradha is sincere and earnest with such a beautiful screen-presence that allows her to leave a lasting impact through her impeccable act. Jayesh More as Manikchand is understated and has his moments to shine. Tannishtha Chatterjee as Suzie is subtly vibrant with her performance while exuding of a positive vibe that is comforting and really affable. Her slightky gimmicky connotations with respect to the writers remains less distractive due to her wonderful little performance. But the show belongs to the two stalwarts of Indian cinema – Paresh Rawal as Tarini and Adil Hussain as Ratan. The choice of casting isn’t a case of anti-thesis here – the opposing nature of their real demeanors often adds to the imperfections in the reel world here, thereby adding a unique layer of contrast while allowing the viewers to realise that both remain similar characters at the end of the day despite contrasting cultures. And I loved how the two actors had a subtle synergy between them, being respectful of the other’s screen space and yet feeding off each other. Both the performances are excellent and add richness to the already fulfilling drama.
Conclusion
The Storyteller is a leisurely layered and delectable retelling of a Satyajit Ray classic, and boasting of brilliant performances that makes for an utterly rich and fulfilling watch. Available on JioHotstar and Highly Recommended!
