Bonolota Express: A moving portrait of a lost era

In Bangladesh, nostalgia often centres on the nineties—landlines, books, and joint families. In our fiction, we typically jump from these scenes straight into the modern era, leaving a significant gap. 

There was a transitional period when button phones slowly introduced us to private life and social structures made a final effort to sustain the spirit of the nineties. This era of generational transition has largely been absent from our cinema—until now.

This Eid, 'Bonolota Express' takes us back to that early 21st-century period when nineties kids were growing up. Directed by Tanim Noor and based on the late Humayun Ahmed's novel 'Kichukhon', the film captures a time we can never return to. 

Having previously explored complex family dynamics in Utshob, Tanim Noor now brings us that famous train journey where a moving carriage becomes a family in itself. It is a rare cinematic capture of a lost era, finally giving that period of our history its due.

Ultimately, Bonolota Express is a feel-good revolution in Bangladeshi cinema. From Tanim Noor's directorial activism—sharply critiquing the shift of leftist leaders towards disconnected populism—to the silent triumph of the art direction, the team has successfully captured a rare, transitional slice of our history.

Tanim Noor expands the original narrative to follow several interconnected stories on a winter night aboard the Bonolota Express to Rajshahi. We meet the Education Minister Abul Khayer Khan and his wife Surma in the Presidential Saloon Coach, busy with his newly married sister-in-law Jamuna and Faisal. Nearby are Aziz and his pregnant wife Afia, travelling with their young daughter, Nitu.

The train also carries the next generation: Admission candidates Shakil, Zafar, and Ruby—where Zafar is braving the Rajshahi University exam just to confess his love—and Chitra, a Physics graduate searching for a life beyond an arranged marriage. They encounter Abdur Rashid, a "damn care" chain-smoker, and a doctor, Ashhab, travelling with his superstitious mother.

As the tracks unfold, these lives collide. The film masterfully weaves together individual tragedies: the Minister's sudden fall from grace, Afia's labour pains, and Rashid's poignant quest to fulfil a child's wish. In a dramatic conclusion, the Bonolota Express continues its journey, mirroring the relentless pace of life itself.

A screenplay of its own

While Bonolota Express draws inspiration from Humayun Ahmed's Kichukhon, screenwriters Shadhin Ahmed and Samiul Bhuiyan have built a world in their own style. The character arcs, though rooted in the novel, find new excellence and outcomes. The most significant triumph of this screenplay is its wonderful, vivid dialogue.

The script skillfully reallocates lines from the book; for instance, Afia's poignant remark about calling upon her parents instead of Allah is delivered by her daughter, Nitu—a character absent from the original text. By introducing new plots and varying the character arcs, the film makes these encounters more visually charming and modern. 

Chitra is transformed from an honours student into a Master's graduate, a shift that fuels the story's flow, while the character of Lily is reimagined as a catalyst for Chitra's flight from marriage rather than a mere acquaintance.

However, moving outside Humayun's frame brings certain flaws. In the novel, the character Rashid is established through family connections; in the film, he is introduced via a magazine feature, which feels less organic. 

Yet, the film compensates with a brilliant narrative device: a background narrator who grows into a character of their own. Most strikingly, while the dead body is a minor detail in the book, the film views all living characters through its eyes.

Ultimately, the dialogues elevate the experience. Statements like Chitra's observation that "at this age, mother's love is nothing but irritating," or Ashhab's claim that "the most intelligent are the ones who get confused," touch the mind repeatedly. 

The screenplay's true strength lies in its seamless crossovers, where the final line of one scene births the first of the next—a testament to the director's fascinating sense of rhythm.

A masterclass in ensemble performance

While Bonolota Express is undeniably dialogue-driven, Tanim Noor's greatest achievement lies in his ability to establish a vast gallery of characters with such speed and individuality.

At the heart of this ensemble is Mosharraf Karim as mathematician Abdur Rashid. In one of his most powerful performances, Karim seamlessly transitions between a motivational speaker, a philosopher, and a grieving father. His character's emotional ups and downs serve as the film's soulful anchor.

Sabila Nur delivers a career-defining performance as Chitra, the film's central figure. Her ability to blend a mysterious past with a captivating present through nuanced facial expressions and dialogue delivery is truly memorable. 

Beside her, Chanchal Chowdhury and Azmeri Haque Badhon portray the Khayer–Surma pair. While Chanchal offers his signature natural performance as the Education Minister, Badhon elevates Surma—reimagined as an educated former leftist turned capitalist—to new heights of refinement.

Shyamal Mawla's Aziz offers a departure from the novel's cleric, portraying a restrained, middle-aged man living on the fringes of societal enlightenment. Though Zakia Bari Momo acts naturally as his wife, Afia, the script limits her impact. 

Conversely, Shamima Nazneen delivers perhaps the best work of her career as a paranoid yet loving superstitious mother, though she feels slightly misfit in childhood flashback scenes. Beside her, Sariful Razz as Ashhab proves his versatility, signaling to the industry that he can succeed in any role.

The film also captures a post-teen dim romance through admission candidates Shakil, Zafar, and Ruby. While the tension of the admission tests feels slightly underdeveloped, Tamim Karim and Labonno Chowdhury stand out for their authentic performances. Finally, Nuhash Humayun provides a meta-textual layer, delivering the background narration originally penned by his father, Humayun Ahmed—acting as the voice of the story itself.

Songs and score

The soundtrack of Bonolota Express serves as a vital emotional anchor, weaving a special feeling into the audience's subconscious. Alongside Humayun Ahmed, the film offers a profound tribute to the legendary Ayub Bachchu. Tanim Noor masterfully places these songs to create a unique fusion identity.

The use of 'Ural Debo Akashe' during Jamuna and Faisal's wild dance acts as a biting satire on the tastelessness of the political elite. While the "Fusion Tagore" moments initially place the audience in an uncomfortable space, the payoff is astonishing. Using a playback of 'Majhe Majhe Tobo Dekha Pai' during the joyous struggle of Afia's childbirth is a stroke of creative genius that redefines how the classic song can be perceived.

As the entire train immerses in prayer, the rendition of 'Amar Bangladesh' evokes a renewed sense of patriotism, reminding the viewer that our well-being is tied to the nation's. The film even finds room for a nostalgic nod to the Bollywood classic 'Tujhe Dekha To Yeh Jaana Sanam,' adding to the era's authenticity.

Zahid Nirab's background score is equally essential. By utilising refreshing, soothing tones—ranging from solitary violins and keyboards to soft guitar melodies—he establishes each character's emotional depth. Whether underscoring tragedy, humor, or romance, Nirab's sophisticated compositions elevate the film's quality, positioning it perfectly for a classy, international audience.

Cinematography and direction

Barkat Hossain Palash's cinematography turns the confined, constructed train set into a dynamic stage. By employing mid-close ranges and clever monitor angles, Palash separates character layers even within crowded scenes. The use of over-the-shoulder and reverse-angle shots creates an intimate, separate storytelling vibe for each passenger. 

However, the set's limitations are felt; we rarely see the world outside the windows. The "dense fog" Humayun Ahmed described in his preface—a fog the train desperately tries to outrun—is missing, as the journey feels static whenever the train isn't stopped.

The lighting serves as a crucial bridge between eras. The Presidential compartment is bathed in soothing tones, while the general coaches maintain a pleasing, consistent light. A rare misstep occurs during the burial scene, where the harsh winter sunlight feels jarring against the rain.

Saleh Sobhan Anima's editing is the film's heartbeat, preventing the long runtime from feeling monotonous. Through skillful B-roll and "perfect moment" cuts, the characters speak even when silent. Anima's work is particularly praiseworthy during the prayer scene for Afia, where the transition between compartments is seamless.

Despite its strengths, the film has technical and historical lapses. The portrayal of Ganabhaban as a centre of power in 2005 is a factual error, as it was merely a guest house then. Furthermore, the sense of timing often falters; a five-hour gap in the story feels stretched, and the medical urgency of Afia's condition—given only 45 minutes in the novel—is diluted by the film's slower pacing.

Ultimately, Bonolota Express is a feel-good revolution in Bangladeshi cinema. From Tanim Noor's directorial activism—sharply critiquing the shift of leftist leaders towards disconnected populism—to the silent triumph of the art direction, the team has successfully captured a rare, transitional slice of our history.