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Repair Windows errors before they cause bigger problemsFix Now →Fix the driver behind crashes, sound loss and screen glitchesFind Drivers →In a March 16, 2018 interview with Scroll.in, Anjan Dutt said Aami Ashbo Phirey grew out of songs about change that he wrote with his son, Neel Dutt. After six Byomkesh films, he wanted to return to original stories rooted in contemporary Kolkata—and to people trying to meet modern demands without surrendering their values. The interview described the film as scheduled for release on April 13, 2018, an expectation reported at the time, not a statement about current availability. Read the interview by Devarsi Ghosh at Scroll.in.
Why Dutt wanted to make a different kind of film
Dutt told Devarsi Ghosh that completing six films based on Sharadindu Bandhopadhay’s detective Byomkesh Bakshi left him wanting to return to original ideas. The adaptations had brought him commercial success and recognition, but he said he felt he had lost himself in that work. His description is his own perspective, as recounted in the 2018 interview.
That return also meant coming back to subjects closer to home. The interview places Aami Ashbo Phirey after Dutt’s youth-focused films The Bong Connection (2006), Chalo Let’s Go (2008), and Madly Bangalee (2009), and presents the new film as a turn toward contemporary Kolkata and its residents rather than another literary detective adaptation.
How songs became the starting point
Dutt and Neel began writing songs about change—in the world, in households and neighbourhoods, and in individual lives. Dutt said the film’s story emerged from those songs. He took the idea to Shrikant Mohta of SVF, which backed the project. Neel composed the music, and father and son both sang.
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As described in the interview, the film runs roughly 100 minutes, with about 30 minutes of music. Dutt characterized the rest as dialogue that supplies information. These are figures reported by Scroll.in in 2018, not independently verified production specifications.
Three connected stories in contemporary Kolkata
The interview describes Aami Ashbo Phirey as a collection of connected stories rather than a single plotline. Its strands include:
- A troubled relationship between a career woman and her daughter.
- A bed-ridden woman who must die to escape her suffering.
- Musicians trying to succeed.
Guitar and rock help frame the film’s Kolkata setting, but Dutt’s emphasis was on the people behind the stories: how they confront pressures of modern life while attempting to hold on to their values. The ensemble named in the interview includes Dutt, Swastika Mukherjee, Kaushik Sen, Sauraseni Mitra, and Darshana Banik.
A career across acting, music, and directing
The interview presents acting as an ambition that came before filmmaking. Dutt made his acting debut in Mrinal Sen’s Chalchitra (1981) and worked with Sen; it also recounts the influence of German filmmaker Reinhard Hauff on his move toward directing. By the time of this conversation, Dutt’s work encompassed acting, songwriting, singing, and directing.
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That breadth matters to the film’s origin: the return to original stories did not begin with a plot outline, but with music made collaboratively with Neel. Dutt described the songs and the narrative as part of the same attempt to attend to changing lives in Kolkata.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.What Dutt hoped audiences would recognize
Dutt did not claim certainty about the film’s commercial prospects. He said, “I don’t know if Aami Ashbo Phirey will be a hit or not but I know there is an audience for this film,” describing viewers interested in stories of Kolkata residents, their struggles, and the effort to live with modern demands while preserving values.
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- Patra Bharati
- Hariye Jaowa Lekha, Samaresh Majumdar, Bengali Collection of Rare Stories, Novels, Memoirs and Essays, Bangla Samagra
His hope for a lasting reception was similarly modest: “I wish some of the films I made or I will make will be remembered for being somewhat different.” In the interview’s closing sentiment, he put the wish another way: “I wish some of my cinema is understood, if not all of it.”
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