When Netflix announced its ambitious plan to adapt a selection of short stories by Satyajit Ray—originally published in Sandesh—many admirers of the legendary filmmaker and writer reacted with cautious optimism. For devoted Ray enthusiasts, such announcements often raise an uncomfortable question: will this be a respectful reinterpretation, or yet another instance of a cultural icon being diluted for contemporary consumption?
By the time the series premiered on 25 June, curiosity had replaced apprehension, and it was time to judge Netflix’s offering on its own merits.
The four-part anthology opens with “Forget Me Not”, inspired by Ray’s Bipin Chowdhury’r Smritibhrom and directed by Srijit Mukherji. While Mukherji broadly retains the original storyline, he relocates the narrative from a modest town to an urban setting, introduces new characters, experiments with gender reversals, and employs an unreliable narrator. Despite the visual polish and the cast’s committed performances, the episode struggles to capture the spirit of Ray’s work. Ray’s original story was infused with subtle humour and irony, whereas the adaptation veers towards a sombre revenge narrative. The director’s inability to engage deeply with Ray’s layered symbolism results in a story that feels tonally misplaced and emotionally underdeveloped.
The second episode, “Bahurupiya”, draws from Ray’s celebrated Bahurupi and once again places Mukherji in the director’s chair. Here, his shortcomings are less pronounced. Kay Kay Menon delivers a compelling portrayal of Indrashish Shah, a lonely, troubled man perpetually mistreated by society. Though the direction still falls short in crafting a fully character-driven narrative, Ray’s original plot structure provides enough strength to sustain interest. Supported by solid performances—particularly from Menon and Rajesh Sharma—the episode succeeds in building anticipation towards its final twist, even if it never quite transcends expectation.
The third instalment, “Hungama Hai Kyon Barpa”, based on Barin Bhowmik-er Byaram, pairs Manoj Bajpayee and Gajraj Rao—a combination that immediately elevates viewer expectations. Their on-screen chemistry is a delight, especially during the extended train journey that forms the backbone of the episode. Unfortunately, the screenplay falters by attempting to replicate Ray’s distinctive eccentricity rather than innovating meaningfully. The episode feels most complete if viewed as ending around the 43-minute mark, before it stretches its narrative beyond necessity.
The anthology concludes with “Spotlight”, loosely inspired by Ray’s satire of the same name and directed by Vasan Bala. While Bala’s flamboyant style promised an intriguing fusion with Ray’s sharp wit, the result is chaotic and largely incoherent. Harshvardhan Kapoor struggles to anchor the episode, and the satire is overshadowed by excessive stylistic indulgence. Aside from impressive production design, a memorable soundtrack, and Radhika Madan’s spirited performance, little else resonates.