Gulai Soor (2025), from the makers of web series such as Kritikal Kouple (2022) and Kolongpar (2022), stands out as a rare Assamese film that achieves remarkable authenticity in its production design.

It effectively captures the visual aesthetics and temporal sensibilities of the specific historical eras it seeks to represent—the 1940s, 1970s, and 1980s.

This achievement is particularly commendable when compared to recent Assamese period films like *urab Ki Awaaz (2017), Seema: The Untold Story (2019), and Wide Angle (2024), all of which failed to faithfully portray the essence of their respective eras.

Regardless of the decade depicted, the characters in Gulai Soor frequently use dakor bosons (traditional Assamese sayings) cleverly twisted into humorous one-liners—a fitting approach for a comedy film.

The story begins in the 1940s, where Diga Soor (Tony Deori Basumatary) nd his series of local robberies have wreaked havoc in Kodomoni village.

His escapades frustrate the British officer stationed at the local police station, prompting a large-scale manhunt to apprehend him.

However, the locals find the situation amusing as they have no clue or idea as how they are going to catch the thief, for no one has even seen Diga's shadow, leave aside identifying his face!

Despite numerous attempts, Diga's cunning allows him to escape repeatedly, earning even the grudging admiration of the British officer, who ultimately declares, as a "legend".

But as the saying goes, every good things come to an end, Diga's luck also runs dry on one fateful day when he is eventually caught and subjected to public humiliation.

Diga, however, determined to reclaim his "lost honour", recruits a gang of notorious thieves from across Assam and prepares for a final showdown.

However, their greatest and the toughest hurdle in this "reclamation journey" is SI Bhim Deuri (Kenny Basumatary)- the newly appointed, no-nonsense police inspector of Kodomoni Police Station who takes a sadistic pleasure in breaking the bones of thieves and dacoits and is relentless in his pursuit of the gang.

Films involving elements of magic, science fiction, or time travel often risk losing the audience by becoming overly convoluted. Thankfully, Gulai Soor avoids this pitfall.

The film’s opening sequence is particularly striking, drawing viewers into the narrative through the perspective of an unsuspecting village headman’s household.

A distant relative arrives unexpectedly, intending to stay the night, and in a smartly orchestrated turn of events, the audience understands why this is truly a film about the art of stealing.

The film excels in its measured flow of information, revealing just enough to maintain suspense without spilling the beans.

For instance, when a special artefact arrives in the village, attracting the attention of Diga's gang, the narrative avoids divulging too much too soon. This controlled approach ensures that the element of surprise remains intact, a significant strength of the film.

The film also explores the themes of deception, skill, agility, distraction, and teamwork. In one memorable scene, Diga teaches his disciples by saying, “Bohibo janile mati’e pira, pindhibo janile dhuti’e muna” ("If you know how to sit, the floor becomes a mat. And if you know how to wear a dhoti, it’s a bag just like that").

He then demonstrates by unfolding his dhoti, revealing stolen artefacts hidden within.

Raktim Kamal Baruah, the writer-director, aims to create a film that fully embodies the spirit of its historical setting.

He is aptly aided by Prayash Sharma Tamuly, whose lighting and compositions brilliantly reflect the period design and humour of the story.

From traditional hati khujia bati and vintage lamps to costumes and vehicles, the production design authentically transports viewers to the time depicted in the narrative—a rare achievement, especially given the current trend of subpar Assamese period dramas.

The ensemble cast—including Kenny Basumatary, Tony Deori Basumatary, Bonny Deori, Bedabrat Borah, Nabajyoti Nath, Saptrashi Gogoi, Bolin Bora, Himanshu Gogoi, and Himanshu Prasad Das—delivers outstanding performances.

Kenny Basumatary’s laugh-out-loud humour contrasts with Himanshu Prasad Das’s satirical approach, while their fight sequence is a rare treat for Assamese cinema.

Himanshu Gogoi’s portrayal of Gulapi, a queer character, is refreshingly naive and central to the plot, solidifying his reputation as a talented actor.

However, the film's primary weakness lies in its attempt to juggle multiple storylines. The narrative shifts from Diga Soor's adventures to the conclave of thieves, the investigation led by SI Bhim Deuri, and the subplot involving Gulapi, resulting in a fragmented, episodic structure.

Characters from the "school of thieves" disappear midway through the film, leaving unresolved threads.

The "school of thieves" concept carries a deeper connotation, reflecting societal and political realities.

A scene in which a havildar remarks, “Ajikali xokoluwe soor aru…” ("These days, everyone steals"), underscores this parallel.

And Gulai Soor does portray how the characters are shaped by the significant historical and political events of Assam, such as the Great Assam Earthquake and the Assam Movement.

The gang of thieves embodies inclusivity, with members from various communities, including Bodo and Muslim characters.

However, the curve also drops when Maitri Das as a mysterious Chitralekha is introduced in the film. She is a painter who creates strange sketches of the thieves at the police’s request.

Maitri Das has fine acting abilities but strangely enough, her character raises more questions of meaning and logic for the plot than is good for the film. It contributes to the already lengthy runtime of the film.

In a nutshell, Gulai Soor is an entertaining film with a fresh, engaging story. Though its runtime could have been shortened, its charm largely stems from the charismatic performances and chemistry among the cast.

Veteran actors like Pratibha Chaudhary, Jayanta Bhagawati, and the late Jayanta Das also leave a lasting impression with their refined performances.

The film features music by Joy Aditya and Parashar Kashyap, whose nostalgic compositions complement the story’s village-life setting. Animated sequences, crafted by Monikundal Bora, further enhance the storytelling.

The film was released on January 17, 2025, which also coincided with Silpi Divas and the one-year anniversary of Aideo Cinema Hall, an initiative by the Assam State Film Finance & Development Corporation Limited- co-producer of the film.

A premier show of the film was also held at Aideo Cinema Hall, a couple of days prior to its official release.

It is worth mentioning here that the Gulai Soor team undertook unique promotional activities in Guwahati, involving music, masks, and posters displayed in city buses.

Whether these efforts will translate to success remains to be seen.

Gulai Soor is a commendable addition to Assamese cinema, offering a blend of humour, history, and charm that resonates with audiences.

Do not forget to visit your nearest theatre and enjoy this laughter riot!

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