Kajol Rekha: Crafting the unfamiliar from a familiar tale

Photo: Collected

Each of us carries the imagery of Kajol Rekha deep within our minds; a world that unfurls whenever we close our eyes. Watching this tale come alive on screen, there's an inevitable clash between the landscapes we've imagined, and the ones renowned director Giyas Uddin Selim has created. It is a challenge few directors can navigate successfully.

This Eid-ul-Fitr saw the release of 'Kajol Rekha,' a story rooted in the folklore of Mymensingh Geetika. The movie brings to life a beloved fairy tale, weaving the familiar threads of our childhood narratives into a vivid cinematic fabric. 

Selim's adaptation of Kajol Rekha, spanning over two hours, managed to cast a spell of pure enchantment from one scene to the next. The film featured Sariful Razz, Sadia Ayman, Rafiath Rashid Mithila, Mandira Chakraborty, Azad Abul Kalam, and Iresh Zaker, who all seamlessly merged into the ancient world of Kajol Rekha, creating an unparalleled experience. 

While the film deserves some criticism, I will delve into them gradually, starting first with the high points.

The narrative of 'Kajol Rekha' is the sole fairy tale incorporated into the Mymensingh Geetika, and a condensed version also appears in Dakshinaranjan Mitra Majumdar's "Thakurmar Jhuli." This adaptation not only revisits the enchantment of ancient myths, but also showcases the challenges of reinterpreting such deeply ingrained tales for the silver screen. 

As Selim navigates the intricate balance between honouring the original story and infusing his unique vision, the result is a captivating blend of nostalgia and contemporary artistry.

In the movie Sadhu, the character played by Iresh Zaker, loses everything to gambling, but a wise bird helps him turn things around. His daughter, Kajol Rekha, faces unexpected problems, like marrying a nearly dead prince. Despite trying to help him, she ends up as a maid, hiding her true self.

As Kajol Rekha struggles in her new life, people start suspecting she's not just a regular maid. A sneaky maid named Kankan makes things worse for her. Kajol Rekha gets kicked out of the palace, but her brother finds her and helps her, not knowing who she really is. 

In the end, 'Kajol Rekha' is about facing tough times and staying true to oneself. 

Sariful Razz's portrayal of the prince was captivating, from his costume to his body language, making it seem as if he had stepped straight out of this tale. Driven by suspicion and unwavering in his pursuit, he finally uncovers Kajol Rekha's true identity. This revelation leads to a dramatic and reconciliatory conclusion to the movie.

The most glaring problem in the movie arises from the set design of the royal, merchant, and landlord homes. Despite being depicted in the story as majestic estates befitting royalty, the film inaccurately portrays them as simple bamboo structures. Such homes should have resembled grand palaces made of sturdy material, which the wealthiest landlords and merchants of the time would have inhabited.

Furthermore, while the story is set in the Netrokona region of Mymensingh, the film fails to consistently use the regional dialect, resulting in a linguistic inconsistency that detracts from the authenticity of the dialogue. The screenplay could have benefitted from more poetic and regionally accurate language to enhance its narrative depth.

In the film the props displayed were notably mismatched with the setting of the story. Despite the narrative detailing elephants and horses, the film predominantly used cows, which felt out of place. 

Moreover, the choice of filming locations was less than ideal; the director could have opted for more forest-rich areas, or chosen an old palace to better reflect the story's setting. These inconsistencies hindered the film's ability to authentically capture the era it intended to represent.

Additionally, while the film included about 25 songs, the music arrangements did not receive as much attention as they did in director Selim's previous film, 'Monpura.' As a result, despite 'Kajol Rekha' being a musical saga, the songs failed to resonate deeply with the audience.

However, the technical aspects like lighting, set design, sound, and costume planning were fittingly crafted. The actors also gave their best performances. Sadia Ayman excelled in portraying the younger Kajol Rekha, while Mandira Chakraborty was apt as the older version, although her acting felt somewhat artificial. It seemed as if someone was forcing her to play the role.

On the other hand, Rafiath Rashid Mithila revealed her acting prowess in a villainous role, masterfully bringing the cunning maid to life. Iresh Zaker and Azad Abul Kalam also delivered commendable performances in their roles.

While 'Kajol Rekha' had its flaws, the boldness of undertaking a fantasy folklore narrative in contemporary cinema is commendable. Director Selim's effort to showcase our cultural heritage to modern audiences deserves appreciation.

For those yet to see the movie, it's advised you enter the theater leaving behind any preconceptions and prepare to experience Selim's vision of 'Kajol Rekha'—it promises both enjoyment and comfort.