The premiere of Bohurupi — The Golden Daku at Cinepolis, Acropolis Mall, turned into a star-studded affair, with familiar faces from the Bengali film industry arriving to show their support for the film. From posing for the cameras on the red carpet to exchanging greetings and catching up with fellow celebrities, the evening saw plenty of smiles, animated conversations and candid moments. The guests took their time acknowledging the photographers, striking poses and sharing a few light-hearted exchanges before heading in for the screening.
The film was a talking point through the evening, with celebrities sharing their thoughts on Bohurupi — The Golden Daku and the anticipation surrounding its release. The mood was warm and celebratory, as the guests and well-wishers came together for a special evening centred on the film.
As the cast and crew poured in, directors Nandita Roy and Shiboprosad Mukherjee led the charge. Koushani Mukherjee, dressed in indigo blue, lighting up the room as always, walked in hand-in-hand with Bonny Sengupta, adding to the festive buzz.
The film picks up five years after the events of the first instalment. Jhimli and Bikram have built a little world of their own in Chyachrapur and now have a young son, who unknowingly gets caught up in a bank robbery. Enter Ayan Bandyopadhyay, played by Jisshu Sengupta, a newly posted police officer who turns the tables in his favour, manipulating Bikram into committing more bank robberies to serve his own interests and those of his wife, Reshmi, played by Sohini Sarkar.
Bikram’s ingenuity, defiance and attachment to his family are all parts of the same person. While his ability to transform himself makes him intriguing, beneath the disguises lies a man with emotional vulnerabilities. The film also explores the personal relationships of its two central male characters through the women in their lives.
Jhimli, points out Nandita Roy, is a woman with her own instincts, intelligence and understanding of the world they inhabit. Her relationship with Bikram has a distinct dynamic because she understands the world of deception from within. Similarly, the woman in Ayan’s life helps explore the personal dimensions of a man who operates within a world of authority and control. The intention, Roy explains, was to make these women integral to the narrative rather than merely use them to explain the men. Their relationships bring emotional complexity to the thriller and make the stakes more personal.
Koushani slips back into Jhimli’s shoes like she never left them. The playfulness, the command, the pain and the emotional shifts are all there. Koushani is Jhimli, and the familiarity works in the film’s favour without making the character feel like a rerun. Meanwhile, Reshmi has an insatiable appetite for power and money, and Sohini gives her just the right mix of ambition, cunning and composure. She does not need to announce her intentions; you can see the wheels turning.
After years of delivering successful dramas as a filmmaker and producer, Shiboprosad continues to surprise with his acting chops. And how! As Bikram, he seems even more assured. He knows his gang better, and the character has grown into his own skin. There is a lived-in quality to his performance that makes Bikram’s world feel convincing.
Shiboprosad had earlier told us that the team shot across more than 90 locations, and the scale shows. The changing landscapes give the plot room to breathe, lend the storytelling a sense of movement and make the elaborate proceedings feel suitably expansive.
The music is another winner. Bonnie Chakraborty and Nonichora Das Baul do a spectacular job of retaining the familiarity of the first film while adding fresh beats, background scores and tracks that arrive when they are needed. Moydamukho hit and Bilai meo meo are particular highlights. The cat-meowing sequence is gloriously ridiculous in the best possible way, proving that sometimes the line between silly and hilarious is just one well-timed meow.
The costumes deserve a mention, too. The disguises that give Bohurupi — The Golden Daku its very premise are woven neatly into the narrative rather than being mere dressing-up exercises. Each transformation serves a purpose, keeping the central idea alive while adding visual variety.
Koneenica Banerjee, Rajatava Dutta and Pradeep Bhattacharyya add considerable weight to the proceedings. The performances fit the film’s world, ensuring the narrative doesn’t rest entirely on its leads. The climax brings the various strands together with enough punch to leave you satisfied, making the film a feast for the eyes and ears. More importantly, it remembers that a commercial entertainer needs to entertain before it does anything else. Sometimes sequels can strike gold; Moydamukho hit can get stuck in your head, and a getaway car is entirely optional when you know how to pull off a festive heist.