Khela
Khela Hobe (Bengali: খেলা হবে, meaning "the game will begin" or "let the game be played") is a political slogan popularized by Mamata Banerjee, the Chief Minister of West Bengal, and her All India Trinamool Congress (TMC) party during the 2021 West Bengal Legislative Assembly elections, symbolizing a defiant challenge to political opponents, particularly the Bharatiya Janata Party (BJP).[1][2] The phrase originated from a statement by Bangladeshi politician Shamim Osman in 2013 but was adapted into Indian politics by TMC youth leader Debangshu Bhattacharya, who composed a viral campaign song around it in early 2021, transforming it into a rallying cry that energized TMC supporters and became a cultural meme across social media and public rallies.[3][4] During the elections, Banerjee frequently invoked the slogan while kicking a football at events, portraying the electoral battle as a high-stakes contest where TMC would prevail, contributing to the party's victory by securing 213 out of 294 seats.[5][6] Beyond the polls, "Khela Hobe" evolved into a broader symbol of resilience and youth empowerment in West Bengal, inspiring initiatives like the "Khela Hobe Diwas" observed on August 16, 2021, where the state government distributed sports equipment to promote physical fitness among children; the choice of date drew controversy from the BJP, who linked it to the 1946 Direct Action Day riots.[5][7] In 2023, Banerjee announced a rural employment scheme named "Khela Hobe," modeled after the Mahatma Gandhi National Rural Employment Guarantee Act, aiming to provide 100 days of work to approximately 2.1 million job card holders.[8][9] The slogan's enduring popularity was evident in its revival during political tensions in 2025, when Banerjee warned of a "26-day dharna" (protest sit-in) and declared "Khela Abar Hobe" (the game will happen again) ahead of the 2026 assembly elections, signaling intensified TMC mobilization against central government interventions.[10] Even the BJP co-opted the phrase in counter-campaigns, highlighting its permeation into Bengal's political lexicon as a versatile emblem of competitive fervor.[2]Background
Development
The slogan "Khela Hobe" was adapted into Indian politics by the All India Trinamool Congress (TMC) during the lead-up to the 2021 West Bengal Legislative Assembly elections. It gained prominence through a campaign song composed by TMC youth leader and Birbhum district president Debangshu Bhattacharya in early January 2021. The song, featuring the refrain "Khela Hobe," was initially shared on social media and quickly went viral, amassing millions of views on platforms like YouTube and becoming a staple at TMC rallies.[2][3] Mamata Banerjee, the TMC supremo and Chief Minister of West Bengal, embraced the slogan as a symbol of defiance against the opposition Bharatiya Janata Party (BJP), often invoking it while performing symbolic acts like kicking a football at public events. The phrase encapsulated the party's confidence in retaining power, framing the elections as a competitive "game" where TMC would triumph. This mobilization strategy contributed to TMC's landslide victory, securing 213 seats in the 294-member assembly. Post-elections, the slogan inspired state initiatives, such as "Khela Hobe Diwas" on August 16, 2021, aimed at promoting youth sports and fitness.[5][1] By 2023, Banerjee extended the slogan's legacy to policy, announcing the "Khela Hobe" rural employment scheme, providing 100 days of work to 1.7 million households annually under a ₹10,000 crore budget, modeled on the Mahatma Gandhi National Rural Employment Guarantee Act. In 2025, amid tensions with the central government, Banerjee revived the phrase with "Khela Abar Hobe" (the game will happen again), signaling preparations for the 2026 assembly elections and warning of protests against perceived interventions.[11][10]Influences
"Khela Hobe" draws from Bangladeshi political rhetoric, where the phrase was first popularized by Awami League Member of Parliament Shamim Osman around 2016. Osman used it in a defiant context against political rivals, stating, "Whom are you teaching the game? We have been players since childhood. Khela hobe!"—transforming a colloquial Bengali expression meaning "the game is on" into a symbol of unyielding resolve. Although not directly from a film dialogue, the phrase echoes everyday Bengali idiom and has appeared in Bangladeshi pop culture, including songs in films like Local (2020).[3][2][12] In the Indian context, the slogan's adoption by TMC was influenced by Bengal's vibrant political culture, where sports metaphors—particularly football, a popular sport in the state—illustrate competitive battles. It resonated with youth empowerment themes, blending defiance with cultural pride, and even prompted counter-use by the BJP, underscoring its permeation into broader political discourse. The phrase's evolution from a regional taunt to a national emblem highlights cross-border linguistic ties and the role of social media in amplifying political messaging.[1][13]Production
Casting
Director Rituparno Ghosh cast Prosenjit Chatterjee in the lead role of the idealistic filmmaker Raja Bhowmik, marking another collaboration in their series of seven Bengali films together. Chatterjee, known for his extensive work in commercial cinema, underwent a notable transition to art-house roles under Ghosh's guidance, who tapped into his potential for nuanced, character-driven performances. This shift began with earlier projects and continued in Khela, where Ghosh's direction allowed Chatterjee to explore deeper emotional layers beyond mainstream tropes.[14] Manisha Koirala was selected for her debut in Bengali cinema as Sheela R. Bhowmik, the director's wife, drawn by her long-standing admiration for Ghosh's filmmaking style in works like Chokher Bali and Raincoat. Motivated by a desire for meaningful roles that avoided Bollywood stereotypes, Koirala accepted the part after missing an opportunity in Ghosh's Antarmahal due to scheduling issues, viewing Khela as a chance to portray a subtle, sensitive character dealing with marital isolation. To prepare, she immersed herself in Bengali culture by watching regional films—despite linguistic similarities to her native Nepali—and worked closely with Ghosh to adopt an authentic Bengali look and demeanor, emphasizing quiet dignity in her performance.[15][16] The role of the young boy Abhirup, central to the story as the object of the director's obsession, went to newcomer Akashneel Dutta Mukherjee following auditions aimed at finding a child who could embody shrewd observation and emotional depth. Ghosh's vision prioritized natural talent for this pivotal character, integrating the boy into scenes with the adult cast to highlight interpersonal dynamics. Raima Sen was cast as Anjali, the costume designer, in her third collaboration with Ghosh, bringing established familiarity to the ensemble while contributing to the film's blend of professional and personal tensions.[17] Assembling the cast presented challenges in balancing established stars like Chatterjee and Sen with Koirala's Bollywood background and Mukherjee's inexperience, all while adhering to Ghosh's intimate vision for character interactions amid limited resources. This mix aimed for authenticity in depicting the film industry's pressures, requiring careful coordination to unify diverse talents without compromising the narrative's emotional core.[14][17]Filming
Principal photography for Khela commenced in early 2008 and lasted approximately six weeks, with the production wrapping up shortly before the film's musical soundtrack release in late June.[18][19] The shoot was primarily conducted in Kolkata and its surrounding areas, utilizing outdoor locations such as flooded streets to authentically depict urban Bengali life and the city's monsoon atmosphere, marking a departure from director Rituparno Ghosh's previous indoor-focused works.[20][19] Cinematographer Avik Mukhopadhyay employed natural lighting and dynamic handheld camerawork to heighten emotional intimacy, particularly in rain-drenched sequences and nostalgic flashbacks, while incorporating darker interiors influenced by German expressionism to reflect characters' inner turmoil.[21][19] Filming faced significant challenges, especially in scenes involving child actor Akashneel Dutta Mukhopadhyay, who portrayed the witty and unpredictable Abhiroop, a boy central to the director protagonist's film-within-a-film project.[21][19] The production encountered frequent disruptions from Kolkata's heavy rains, necessitating artificial rain simulations with fire engine hosepipes and temporary shooting tents, which once led to Akashneel developing a fever.[19] Akashneel's spontaneous behaviors—such as hiding under beds, staging mock kidnappings, refusing scenes after a haircut, or improvising actions like tearing diary pages and bribing crew with chocolates—required extensive on-set improvisation to infuse humor and adventure elements, often reshaping scripted moments to accommodate his energy.[19] These performance refinements prompted minor reshoots to capture authentic interactions, though the overall schedule remained compact despite the unorganized workflow and communication issues.[19]Post-production
The post-production phase of Khela involved editing by Arghyakamal Mitra, who created a seamless and smooth cut that effectively blended past and present timelines, as well as interior and exterior scenes, to maintain narrative flow.[19] This approach contributed to the film's 97-minute runtime, allowing for a concise assembly of the raw footage captured during principal photography.[22] Visual effects were handled minimally through the digital intermediate process, with Salil Deshpande serving as senior digital intermediate producer and Rajiv Raghunathan overseeing digital intermediate production, emphasizing the film's realistic and grounded aesthetic without heavy reliance on CGI.[21] Color grading was integrated as part of this digital workflow to refine the visual tone, supporting the emotional depth of the story's interpersonal dynamics.[21] Sound design elements were incorporated during final assembly, with contributions from the sound team including M. Lakshmi Naidu as associate sound designer and sound editor, ensuring synchronization with the edited visuals.[21] Director Rituparno Ghosh oversaw the final cut approvals to align the post-production output with his vision for the film's intimate exploration of family and creativity.[19]Story and characters
Plot
Raja Bhowmik, a dedicated filmmaker immersed in his work in Kolkata, faces growing marital strain with his wife Sheela after four years of childless marriage. Feeling neglected amid his obsession with filmmaking, Sheela leaves for the hills to stay with her friend Renu and Renu's children.[20][23] When Raja visits Sheela, he is surprised by her renewed vitality and forms an immediate bond with Renu's children, experiencing a rare moment of paternal connection that highlights his own reluctance toward starting a family. Inspired yet unresolved, Raja returns to Kolkata to continue production on his new film, which requires a young boy for the lead role.[20][24] Scouting locations and talent, Raja discovers Abirup, a schoolboy he deems perfect for the part despite the boy's parents' strong disapproval. Desperate to secure the casting, Raja whisks Abirup away under secretive circumstances, effectively isolating him for the shoot and shaving his head to fit the character's appearance, which initially devastates the boy and prompts an escape attempt. Abirup threatens to reveal the "kidnapping" to the police, but reconciliation comes through small gestures like chocolates, easing tensions as filming begins.[20][23] As production unfolds in remote areas filled with adventure and mishaps, Raja and Abirup develop a deep bond through shared humor and challenges, allowing the director to rediscover a sense of childlike innocence he had lost to professional pressures. Sheela, drawn back into Raja's world by the boy's influence, rejoins the group, and Abirup's presence catalyzes emotional shifts for both, mending their relational rifts and prompting Raja to embrace the idea of fatherhood. The film culminates in a resolution where personal growth leads to marital reconciliation and the successful completion of the project.[20][23]Cast
Prosenjit Chatterjee stars as Raja Bhowmik, the protagonist and a fledgling film director depicted as a passionate yet self-absorbed artist grappling with the tension between his idealistic vision for cinema and the realities of his personal life.[21][19] Manisha Koirala plays Sheela Bhowmik, Raja's wife, who embodies quiet bitterness and a deep yearning for motherhood while serving as an emotional counterpoint to her husband's obsessive focus on filmmaking.[21][19] Akashneel Dutta Mukhopadhyay portrays Abhirup Mitra, an innocent and witty schoolboy who acts as the child lead in Raja's film and becomes a catalyst for the director's personal transformation.[21][25][19] Raima Sen appears in a supporting role as Anjali, a costume designer and colleague on the film crew who adds depth to the social dynamics surrounding Raja and Abhirup.[21][25][19] Minor characters include Shankar Chakraborty as the producer Vikram, who facilitates the film's production efforts, and supporting roles for Abhirup's disapproving parents (played by Pradeep Chakraborty and Pushpita Mukherjee), who represent familial resistance to the boy's involvement in the project.[21][25][23]Music
Composition
The musical score for Khela was composed by Raja Narayan Deb and Sanjoy Das, who crafted a soundtrack that integrates traditional Bengali musical elements with modern arrangements to enhance the film's narrative depth.[21] Their approach draws on Rabindranath Tagore's classic compositions, such as "Chhaya Ghanaichhe Bone Bone," alongside Vedic chants and original tracks featuring contemporary influences, including the song "Ek Je Ache Raja."[26][27] Central to the score are recurring motifs that evoke the film's core themes of playfulness—mirroring the titular "khela" or game—and introspection, underscoring the adventure of a runaway child while highlighting underlying emotional tensions.[28] These elements were refined to align with the story's whimsical yet poignant tone, developed in tandem with the film's post-production timeline to support key narrative transitions.[20] Raja Narayan Deb and Sanjoy Das collaborated extensively with director Rituparno Ghosh, who provided narrations for several tracks, ensuring the music synchronized precisely with the emotional arcs of the characters and scenes.[26] This partnership emphasized syncing auditory cues to pivotal beats, such as moments of childlike wonder and reflective solitude, amplifying the film's blend of lighthearted escapism and deeper psychological layers without overpowering the 97-minute runtime.[20]Soundtrack listing
The soundtrack album for Khela was released by Saregama on June 5, 2008, comprising 19 tracks with a total runtime of 49 minutes. It features compositions primarily by Rabindranath Tagore, adapted as Rabindra Sangeet, alongside background score elements by Sanjay-Raja and several narration segments voiced by director Rituparno Ghosh. Lyrics for the songs are credited to Tagore, drawing on his characteristic Bengali poetic depth with themes of nature, transience, and human emotion, while narrations incorporate Ghosh's original script elements. The album interweaves vocal songs, recitations, and instrumentals to underscore the film's adventurous and introspective sequences. The track listing emphasizes a mix of full songs and shorter narrative pieces, with durations varying from brief interludes to extended renditions. Representative tracks include:| Track No. | Title | Singer(s)/Narrator | Duration | Notes |
|---|---|---|---|---|
| 1 | Chhaya Ghanaichhe Bone Bone | Paroma Banerjee | 6:10 | Rabindra Sangeet adaptation; featured in a key emotional sequence. |
| 2 | Palachchhe Deen Raatri Kothai Thambe | Nachiketa Chakraborty (with narration by Rituparno Ghosh) | 3:02 | Reflective track highlighting time's passage; used in transitional scenes. |
| 3 | Khela Khela Diye Shuru, Pt. 1 | Instrumental/Narration ensemble | 2:36 | Opening motif for adventure buildup. |
| 4 | Ek Je Ache Raja Diner Sheshe Raat Pohale | Anwesha Duttagupta, Uppal Sengupta | 4:14 | Playful Rabindra Sangeet; accompanies a narrative game sequence. |
| 5 | Khela Shurur Dingulo (Narration) | Rituparno Ghosh | 1:04 | Introductory recitation setting the film's tone. |
| 6 | Sabai Mile Khela (Narration) | Rituparno Ghosh | 1:12 (approx.) | Collective play theme narration. |
| 7 | Vedic Chants (Buddha Bandana Stotra) | Rajanarayan Deb, Sanjoy Das, Rajiv Sunam, Nirmalya Dey | 2:45 (approx.) | Background instrumental for contemplative adventure moments. |
| 8 | Khela Bhangar Khela (Narration) | Rituparno Ghosh | 1:30 (approx.) | Reflective narration on broken games. |