Strike+Reel’s vast arcade features first-person shooters like Halo, The Walking Dead, Tomb Raider and Virtual Rabbids.
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Plenty of giant TV screens make it easy to keep tabs on favorite teams while bowling a few frames. For a more intimate experience, rent one or several of the eight private lanes in the VIP area. And yes, Strike+Reel does rent bowling shoes. Offering such games as Angry Birds, Easy Bowling and Horse, lanes can be equipped ball bumpers and ball ramps if players wish. We might have outgrown the euphoria of Independence, but Netaji, Surjya Sen or Khudiram still touch a chord.With state-of-the art lanes and lane-side food and drink service, Strike+Reel redefines the bowling experience. Though contemporary Bengali film-makers have largely stayed away from the subject of Bengal's freedom struggle, an interest remains, so that even a grainy DVD of the hair-raising 'Biyallish' gets sold out in shops. More recently, the Chittagong episode has been the focus of two films - Ashutosh Gowarikar's 'Khelein Hum Jee Jaan Se' (2010) and Bedabrata Pain's 'Chittagong' (2012). Films based on the lives of Bengali patriots continued being made, like the 1971 film 'Mahabiplabi Aurobindo', but they almost uniformly lacked the high emotional quotient of Hemen Gupta's 'Biyallish'. Bengali patriotic films had their heyday in the '50s, with a director like Hemen Gupta, for instance, who was almost fixated by the genre. 'Pehla Admi' was a film inspired by the Netaji cult - and though made in Hindi for the "all-India" market, it was a subject of special bearing for Bengali audiences, in a milieu rife with rumors that Bose was still alive. Thus, in 1950, New Theatres Ltd - the famous talkie studio of the '30s - released 'Pehla Admi', a film set against the backdrop of the march of Subhas Chandra Bose's Azad Hind Fauj during the Second World War.
Other contemporary films were Hemen Gupta's '42 or Biyallish' (1951), set against the Quit India movement, and 'Biplabi Kshudiram' (1951), based on the life of Khudiram Bose. This affair had acquired mythical proportions in Bengal's nationalist lore. Next year, there was another film, 'Chattogram Astragar Lunthan', based on the famous episode of the raid of the colonial government's Chittagong armory by a group of Bengalis under Surjya Sen in April 1930. The film failed at the box-office, but was acclaimed for its depiction of a glorious chapter in Bengal's anti-colonial history. The first of these films was Hemen Gupta's 'Bhuli Nai' (1948), set against the 1905 Partition of Bengal by Lord Curzon - the tragic story of a revolutionary group formed during the anti-Partition movement. Colonial rule was a recent memory for the audiences that saw these films and they were emotionally connected with their heroes. Bengali film-makers took to the freedom movement with gusto for inspiring episodes, which translated on screen into dramatic film content. Set against the recently ended anti-colonial movement, patriotic films were naturally contemporary, given the strict censorship laws of the colonial era. Bengali cinema had spawned a genre of patriotic melodramas in the immediate post-Independence context.
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