Eight years in, most franchises are either running on nostalgia or introducing “younger versions” of characters nobody asked for. But the Guptodhon films have managed to still feel alive. With Saptadingar Guptodhon, director Dhrubo Banerjee takes the beloved trio into darker, murkier waters and delivers a film that is equal parts folklore, thriller and family entertainer.
This time, the adventure shifts to the Sundarbans, and the mystery feels more tense right from the beginning, with the forests, rivers and local folklore adding to the uneasiness. And for once, the trio seem genuinely out of their depth.
What keeps the franchise successful is the dynamic between Abir Chatterjee, Arjun Chakrabarty, and Ishaa Saha. By the fourth movie, their exchanges flow effortlessly and the friendship sustains the film during its slower parts. The performances exude a natural fluidity stemming from actors who fully grasp the rhythm of these characters now.
Abir Chatterjee once again anchors the film with authority and understanding as Sona da. He plays him without any exaggerated heroism, which is exactly Sona da is loved so much. Arjun Chakrabarty brings his warmth and terrific comic timing, while Ishaa Saha gives Jhinuk the emotional presence that becomes increasingly important as the narrative progresses.
One thing the film gets absolutely right is the use of Bengali folklore. Saptadingar Guptodhon brings in the story of Chand Sadagar, Manasa devi, Behula and Lakhindar in a very organic way. These are stories most Bengalis have grown up hearing in some form, and the film uses that familiarity well. The Guptodhon films have always been good at mixing adventure with history and folklore, and this instalment continues that nicely.
The humour also lands well. The comic timing throughout the film keeps the tension from becoming overwhelming, and the character Joga nearly steals every scene he appears in. His chaotic energy adds exactly the kind of absurdity the film needs. Meanwhile, Rajatava Dutta returning as Dashanan Daw feels like franchise tradition at this point. That eerie laugh has now become part of the Guptodhon cinematic grammar.
The film looks gorgeous for the most part. The Sundarbans setting really works in its favour — the rivers, the dense mangroves, the silence before something goes wrong — all of it adds to the tension naturally. A lot of the frames have that old-school adventure-film mood which suits the franchise well. The VFX tiger, though, feels unnecessary and slightly distracting because the rest of the film stays fairly grounded visually. You almost wish they had avoided showing it altogether.
The only area where the script slightly fumbles is in its handling of Chand Sadagar's tribe storyline. The descendants protecting the treasure for generations deserved a stronger payoff connected directly to the final discovery of Pratapaditya's treasure. After investing so much emotional weight into their purpose, their arc feels abruptly underutilised in the climax. The ending still works emotionally but the resolution could have been tighter.
What makes Saptadingar Guptodhon work is that it never talks down to the younger audience and never forgets that adventure films are supposed to feel exciting first. The film remains a genuinely responsible family entertainer without becoming preachy about it.
And honestly, when every sequel wants to become “bigger” by becoming louder, there’s something refreshing about a film that still believes storytelling and the chemistry of the characters are enough to hold attention for two-plus hours.
The Guptodhon gang still has it. Saptadingar Guptodhon conveys it well.
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