As the masks literally and metaphorically come off one is now certain that it is Srimanto who had been behind everything all along.
It is long tense scene, shot in light and darkness with intercutting shots of Lalita's reactions to the shots, Srimanto's own shocked face and the beggar laughing sneer. The figure takes off the mask revealing himself to be the beggar. As he is looking around, a masked figure enters the cellar. Inside are the treasures Sasishekhar had kept hidden along with explosives. He has deciphered the map, though he had declared it to be rubbish to everyone. In the run-down part of the property, Srimanto finds the trap-door to a hidden cellar. This whole sequence, ending with the opening credits and the title 'Hanabari' ('The Haunted House') as the man runs out of the house again onto the road firmly establishes the context of the film and sets the narrative rolling. The mise-en-scene with the play of lights and darkness and the run-down house, create an eerie atmosphere which reaches a crescendo with the appearance of the giant ape-like creature that inhabits the house. As the setting returns to a dilapidated house, the score starts again, a slow laborious one heavy on trumpets and violins, shrill yet slow.
As he spies a roadside house, he asks the owner for help and at the bewildered owner's request launches into his story. The rousing score, like a frantic marching rhythm as he runs, sets the pace of the short sequence of shots, a pace that will return later. True to the form, the film opens on a tense note, with a man frantically running on the road, not just running to towards something but running away. Premendra Mitra, one of the exponents of science fiction in Bengali literature, had made a name for himself in the genre of thrillers in cinema.
0 kommentar(er)
