The years from 1947 when colonial India was first partitioned on the basis of the ‘Two-Nation’ theory to 1971 when this very theory proved fallacious as Bangladesh (formerly East Pakistan) proclaimed her independence from Pakistan, have been a tumultuous phase of history in the Indian subcontinent. The paper is conceptualised as a substantial contribution to film and cultural studies, as this area has hitherto remained uncharted in academic discussion. The authors from either side of the India-Bangladesh border intend to focus on the use of guns in Bangla cinema of these three evolving phases, applying film analysis to select productions from Bangladesh and West Bengal in India. The third category, conversely, is another façade of culture-one that symbolises the present time as an ‘age of simulations’ that hardly has any organic connection with ground realties that the films claim to contextualise. The paper hypothesises that the first two categories qualify as cultural texts attempting to approximate historical realities, wherein guns function as vital symbols of power and unity, resistance and liberation. This undoubtedly signifies the confusion of cultural values. Basing upon Baudrillard’s contention that we have lost our capacity to grasp reality as it is, and need to depend on set-up realities in a virtual world, this paper claims that the initial patriotic zeal (its remnants notwithstanding) of Bangla cinema has taken a retrogressive turn, so as to seek recourse in representations of violence as channels of personalised/disorganised pseudo-real entertainment like video games. The last category is perceived by and large as hyperrealist, for it substitutes ‘the signs of the real for the real itself’. The authors perceive three distinct phases of such representation-films from West Bengal highlighting Partition violence around 1947 exponents from Bangladesh upholding the independence of former East Pakistan in 1971 and the brutality of the West Pakistan armed forces and hyper action in contemporary commercial cinema.
A perusal of Bangla cinema following the Partition of India (consequently, of Bengal too) in 1947, and the Liberation war of Bangladesh in 1971 shows a tradition of ample use of guns and ammunition. The authors hold that both are symptomatic of the unreal nature of contemporary Bengali culture in an age of mass consumption. This is a remake of Tamil film, Thani Oruvan (2015) which was already remade in Telugu as Dhruva (2016).In tracing a specific trajectory of cultural evolution, this paper builds upon Jean Baudrillard’s concept of ‘simulacrum’, arguing that the use of guns in Bangla cinema from Bangladesh and West Bengal (India) is connected with ‘hyper-reality’ and ‘simulation’. Bharat Kaul as leader of the dock syndicate Damodar PandeyĪll lyrics are written by Prasen (Prasenjit Mukherjee) all music is composed by Arindam Chatterjee.Supriyo Dutta as MLA-turned-Minister Gobardhan Sen, Aditya's father.Prasenjit Chatterjee as Aditya Sen, the main antagonist.At last, it is shown that Aditya died because of a gunshot from his own girlfriend, and handovering all the secret information against the ministers which would be helpful as eveidence/proofs in future. Ronojoy later collected all the pieces of evidence against Aditya and completely shattered him. Later Ronojoy finds that Aditya is able to detect all his plan by satellite communication, and he misdirected Ronojoy to kill Vicky. Trouble mounts when Aditya becomes suspicious of his intentions, and murders Ronojoy's friend Abhijeet, an honest policeman. Ronojoy, with his sharp thinking and instinct, is suspicious of Aditya, for a number of seemingly unconnected criminal events, for which he secretly carries out an unofficial investigation.
The national mafia and contract killer works on Aditya's word. Aditya Sen, an exceptionally cunning and prodigious businessman, owns and runs a pharmaceutical empire.
Ronojoy and his friends are trainee policemen who are also self-appointed vigilantes at night.
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