Madan Theatres’ authoritative presence was responsible for its rift with Sisir Bhaduri during the latter’s acting days. Bhaduri decided to quit Madan and open his own film company. Justice Chandra Madhab Ghosh’s son — barrister BK Ghosh — better known as Kaku Ghosh in the industry — came forward to help with the finances. The studio’s location was a garden house at the intersection of Dumdum Road and Nagerbazar. Bhaduri himself chose Saratchandra Chattopadhyay’s Aandhare Alo as the first adaptation for the company. Friend Naresh Mitra joined him as the assistant. Nani Sanyal, the cinematographer and laboratory technician, came from Madan. Durdagas Bandyopadhyay, who wrote the titles for Madan, also joined the fray. Costumes and props came from the defunct Indo-British Film Company. Bhaduri took on the reins of direction. Calamity struck when Bhaduri met with a bus accident during the middle of shooting the film and was confined to bed for a period of time. Along with that was his rift with Kaku Ghosh. The result was Bhaduri’s decision to quit the project. Naresh Mitra completed the film on Kaku Ghosh’s request. Saratchandra himself came to the studio to help Mitra with the screenplay. He even created a new character for Mitra and named it Aghorkali. Moving on, Mitra adapted Rabindranath Tagore’s Maanbhanjan. That set the ball rolling for Tagore’s cinematic adaptations. Tagore himself had watched the film at the Russa Theatre. Tajmahal Studio had bought the rights of 12 Tagore stories. Unfortunately, the films never got made. The studio shut down in 1924.The exact location of the erstwhile studio in Nazarbazar now no longer has a garden house. Instead, a pond and an old pillar — a little away from each other — survive. Those with an eye for history can connect the dots and understand that these two are the last remnants of the Tajmahal Studio.