Die goldene Festung

A brilliant adaptation of Ray's own novel. An Indian road trip movie from 70's. The story is solid. Background music is awesome and the locations are fantastic. This film is 💯% perfect in every category. The acting performances are mind blowing, specially the iconic actor 'Soumitra Chatterjee' and the child actor 'Kushal Chakraborty'. This film proves how much versatility Satyajit Ray had. The legend director and the legend actor, together they made this film an 'Evergreen Movie'.

"Sonar Kella" (Golden Fortress ) , these words evoke a lot of sentiment in not only me , in any average Bengali . Lot of us grew up reading this story and knew the story by heart. So Satyajit Ray must have a tough time adapting this story for his film. But it had been done perfectly, the way only the genius like him could do. Soumitra Chatterjee , the brilliant actor he was , portrayed " Feluda" with implacable perfection . Santosh Datta made the role "Jatayu" (Lalmohan Ganguly) of his own. He was so good in his role that Satyajit Ray started to sketch "Jatayu" resembling him in his Feluda stories. Kamu Mukherjee as Mandar Bose also acted brilliantly in his evil character. But I don't know why nobody talked about Siddhartha Chatterjee in his role of Topshe. After Sonar Kella and Joi Baba Felunath, number of Feluda films , TV series were made , but no one could compete him as "Topshe". For me, he had born for that role. The film is set on the backdrop of Rajasthan . It is present in the film in its full glory. The local music is also used by the Satyajit Ray . Rajasthan's sand, music, camels , forts and people helped this film reach a level which Bengali audience rarely got to see in films. The primary target audience of this film was kids. But Satyajit Ray , knowingly or unknowingly, somehow managed to remove the invisible boundary between Adult and Kid worlds and created a magical form of art which is acceptable to all.

This is an Indian Road Trip Movie, from the 1960's. The story is solid, and the pace is appropriate.

If you do not understand Bengali, you will definitely miss a lot of the innuendos, and the subtitles will not help you out with their literal translation! The young child is an excellent actor, and I wasn't surprised to see that he is now a very successful actor in Tollywood movies (Bollywood is the Hindi movie industry based in Bombay/Mumbai, Tollywood is the Bengali movie industry, based out of Tollygunj in Kolkata).

The cinematography works well, and does present an evocative view of India 40-45 years ago.

The DVD print isn't great for the night scenes...that is the only drag on an otherwise excellent movie.

Among all the movies of the "thriller" genre, I would alsways rate this movie as amongst the top in India. Having watched it many dozens of times, I have observed that the movie and Ray's treatment of his story is unique in many ways. Firstly, given the exotic locales in the story, any director would lap up the opportunity of using stunning angles for shots around the various forts (of Jaipur, Jodhpur, Bikaner and Jaisalmer in this case), let the camera hover around the desert horizon with the sun setting or the static ripples of sand on a dune. Never for a moment had Ray let the camera linger on any stunning backdrop outside the context of the film. Even in the sunset scene at Ramdeorah railway station, the camera does not lose the subject, that was 'jatayu' loosening up after an arduous camel ride. Even more interesting is Ray's ability to stay focused to the story line again given that the climax inside the Jaisalmer fort, a classic fort with a town inside. It would be easy for any one to yield to the temptation of extending the final moments of the film in the fort in its numerous small streets that wind around the beautiful houses of the town within the fort. However, Ray stuck to telling the story as it was in the book (with some changes of course) where the "Golden Fortress" itself occupies a few minutes of the 120 minute film. The result has been a crisp story where the suspense ramps up from the first scene and never ebbs in the entire course of the film.

First of all, I think I'll add a short introduction to Feluda stories. Among over two-hundred novels and stories Ray had written especially for teenagers, the detective stories of Feluda are by far the most popular. With calculated amounts of wit, suspense, action and humor, the stories are considered classics of modern Bengali literature. So it was not surprising that he would make one of them for the screen.

As a book, "Sonar Kella" is one of the all-time bestsellers. Now I have seen the film about ten times and what fascinated me is how Ray changed the whole structure of the book while making this film. The novel is a fantastic detection story with sharp plot twists. But Ray thought the concept of detection as a theme in this film will not make the viewers see it more than once. So he makes it more like a modern thriller -- he showed the crime and criminals at first and now the theme becomes how Feluda unfolds it. That's why crime and detection is not the only theme of this film. There is plenty of humor and excellent visionary of Rajasthan too. Ray primarily directed the film to his readers but also made sure it satisfies all kinds of audience.

Another point I want to make: if the viewer doesn't know Bengali and relies on subtitles, he/she misses a good percentage of its fun. That part lies on its extremely witty screenplay where often Ray literally played with the words. Among the actors, Soumitra Chatterjee is quite good as Feluda, at least he was the best for this part in that time. Santosh Dutta virtually created the character of Jatayu. It became his trademark role. And one must mention the flamboyant and passionate performance of Kamu Mukherjee as the villain Mandar Bose.

The film features all of Ray's trademark styles -- in artwork, in script, in the camera angles and original music. And it remains an all-time family classic in the history of Indian cinema.