I read Humayun Ahmed’s famous novel “Debi” just five days before the release of its silver screen adaptation. I was so hooked by the story, that I immediately looked for the second book of the “Misir Ali” series to see if the “Debi” story was continued. Did I feel the same way after watching the adaptation by Anam Biswas? Yes. I will look forward to an adaptation of “Nishitini,” the book that acts as a sequel to “Debi,” if it is made by the same team and cast.
The setting of the film “Debi” is in 2018. Instead of publishing advertisements on newspaper, the mysterious serial killer Ahmed Sabet finds prey on Facebook. However, nothing else from the novel was changed for the 2018 setting in the film. This can be interpreted as a half-hearted setting change, but I honestly think, that the credit was due to Humayun Ahmed, who as a writer was light years ahead of his contemporaries. “Debi” was written in such universal setting, that any film-maker may base their adaptation of this story in any year and still make it work.
The change in modus operandi of the killer Sabet was necessary, as the film team rightly predicted that a lot of new people like me will go to watch the film. It would look far-fetched to people like us, who live and breathe social media, if someone tried to post advertisements on a newspaper to get someone to socialize with, and also succeed.
And how did the star-studded cast of “Debi” fare while portraying characters penned by Humayun Ahmed? I would say they did very well. It was apparent that all the actors tried to infuse a touch of “realism” in their portrayals. Let me explain how.
Jaya Ahsan’s Ranu reminded me of the archetypical aunt in Bangladeshi families, who is more influenced by superstition than logic. Sometimes those aunts do predict the future or the present accurately. That was the point of the novel, and also of this film. And Jaya does justice to that role.
Chanchal Chowdhury’s Misir Ali speaks and acts pretty much the same way the character from the book. Most memorable for me was seeing an old-model Nokia phone hanging on a lace around the neck of Misir Ali in his first interaction with Ranu’s husband Anis. This was not in the book but felt like a perfect addition to the look of the character.
Sabnam Faria told me that she is such a big fan of the writer Humayun Ahmed that she can morph into female role penned by the author. Her delivery as Nilu is a testament to her statement, and I sincerely hope she reprises the role, if a sequel is really made.
Animesh Aich, the well-known director, debuted as an actor in this film. He was offered the role on October 16, 2017. He read the script and started shooting three days later. I felt his portrayal of Anis was so heart-warming, that I wish to see more of his acting.
Iresh Zaker’s Sabet was believably charming and terrifying, just as the character in the novel. In fact Sabets like this may very well exist in this time period, and people should be careful about replying to random texts from social media.
I believe this film will be forever remembered and discussed while studying Bangladeshi films, as the horror aspect was done right. People may complain about “jump scares” from being exposed to Hollywood’s overuse of that element. However, I think such classic horror elements, shown in modern color-grading with fitting musical score, is a first for Bangladeshi films. The theme of “Debi” was haunting and I cannot stop humming it.
The ghost in this horror story, although not explained, is probably a pagan Goddess who refused to leave her devotees, even if organized religion and technology made her obsolete. And unlike demonic interpretation of pagan Gods made popular in Hollywood, the ghost of “Debi” is a force of good, which saves girls from evil men. How fitting to see such an interpretation of the ghost in this film, when the #MeToo movement is raging around the entire world.
