Released: 15 Oct, 2026
BengaliDrama & Thriller
Cast & Crew
Bohurupi: The Golden Daku Movie Review: Bohurupi: The Golden Daku delivers a familiar chase with a social punch
Eshna Bhattacharya
TNN, Oct 17, 2026, 4:20 PM IST
Festive-season sequels carry a particular burden. They are expected to deliver spectacle and crowd-pleasing moments while still holding together as stories, and many collapse under the weight of one or the other.Bohurupi: The Golden Daku mostly meets the challenge. It sustains a lively game of pursuit and wraps it in family drama, humour and a surprising amount of social observation. It also tests the viewer’s patience along the way, but it earns that patience back in the end.The setup is simple and sturdy. Inspired by true events in rural Bengal, the film follows a resourceful fugitive who repeatedly outwits the police by adopting new identities, while a game of pursuit builds between the elusive outlaw and the law. That shape-shifting premise gives the filmmakers plenty of room for surprises, and the script uses it well. The plot is well constructed, the chase keeps its momentum for long stretches, and the story remains unpredictable enough to hold attention even when individual scenes sag. There is a real sense of a writer’s hand at work here: the family drama is not bolted on as an afterthought but grows out of the same situations that drive the thrills.Shiboprosad Mukherjee is the film’s centre of gravity, and there is no real contest on that front. As Bikram, he slips between registers with ease, moving from cunning to comic to quietly vulnerable without visible effort. The film is at its liveliest whenever he is at the heart of a scene, and it loses some of its charge when the story drifts away from him. It is the kind of performance that makes the character’s escapades believable even when the plot asks for a leap of faith.Jisshu Sengupta plays Ayan Bandyopadhyay, the officer on Bikram’s trail, and he brings the rugged, unyielding presence audiences might have associated with him. He is convincing and watchable, but the performance is familiar territory, and the character offers few surprises. Sohini Sarkar plays Reshmi Bandyopadhyay, and she is clearly committed to the part, yet the material, built around an acquisitive police wife, tends to stay on one note, and several scenes in this stretch feel flat and drawn out. A more fluid treatment, with sharper writing around her scenes, would have allowed her performance to land with greater impact. Rajatabha Dutta’s subplot, by contrast, is a pleasant highlight, giving the film a welcome change of texture, while Koushani Mukherjee rounds out the principal cast.The comic interludes deserve special credit. They provide the breathing room that the film’s length demands, and they are what keep the whole enterprise at par when the plot treads water. The script also has a good deal to say about the society it depicts, and it says it without losing its mainstream footing. For a festive release, that is bold. Commercial cinema is often tempted to treat social themes as garnish, whereas here they are part of the film’s fabric, and the film is richer and more thoughtful for it.The music is another genuine asset, though not uniformly so. The vibey numbers are the real strength, sitting naturally within the film’s mood and giving its rural, folk-tinged world a distinct texture. It enhances the atmosphere rather than interrupts the story. The background score is equally effective, adding tension to the chase sequences and warmth to the quieter family moments. The direction by Nandita Roy and Shiboprosad Mukherjee is confident, and the film has a clear sense of the tone it wants and the audience it is speaking to.Where it falters is length. The film runs close to three hours, and it feels it. A good number of scenes could have been trimmed without losing anything essential, and the Reshmi–Ayan track in particular would have benefited from tighter editing. A runtime of around two and a half hours would have sharpened the pace considerably. A few loopholes in the plotting also become apparent once the excitement settles, and viewers who like their thrillers watertight may find themselves asking questions on the way home.And yet the ending makes up for everything. The film saves its best for the final stretch, and it lands with a force that smooths over the earlier lulls and lapses. It is the kind of finale built for a packed auditorium, with the energy, scale and crowd response that a living-room screen simply cannot replicate. This is something one should experience only in the cinemas, and it is the strongest argument for catching the film on the big screen rather than waiting for streaming.The film’s technical and design departments are uniformly strong. The cinematography captures the rural Bengal landscape with a warm, earthy palette and keeps the chase sequences clear and kinetic, and the framing gives the film a scale that rewards the big screen. The costumes are well judged, grounding each character in the film’s setting while giving Bikram’s many disguises the variety and playfulness the premise demands. The production design and locations build a believable, textured world, and the script is tight in its dialogue and confident in its mix of thrills, humour and social commentary. Taken together, the craft is polished, and it gives the performances and the story a solid foundation to build on.If you are looking for a festive outing the whole family can enjoy, Bohurupi: The Golden Daku is an easy recommendation. It combines a lively chase, good humour, strong music and a conscience, anchored by a commanding lead performance. Be prepared for a few drawn-out stretches, but the climax rewards that patience, and it is best savoured with an audience.
3.5
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Bohurupi : The Golden Daku – <a href="https://cinemamix360.com/2026/10/18/the-films-of-the-official-selection-2026/” title=”The films of the Official Selection 2026″>Official Teaser
2 months ago
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