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Ritwik and His "Meghe Dhaka Tara"-A Study Into Oppression and Feminism in The Alter
It is one of the saddest moments of his life that Ritwik Ghatak, now a religious figure in Bengal, is the least understood and admired of his life. Although today his films are highly acclaimed, the fact remains that in their time they ran into most of the empty houses in Bengal. Ghatak’s film to be different
Feelings. They are often brilliant, but almost always flawed.
Born in Dhaka (now in Bangladesh), the division of Bengal and subsequent cultural divisions is haunting Ghatak forever. Joining the Left Indian People’s Association (IPTA), he worked for a few years as a screenwriter, actor and director. When the IPTA split, the Ghatak faction turned to film production.
In general, Ghatak’s films revolve around two central themes: the experience of exclusion from the bizarre rural areas of East Bengal and the cultural clashes of the 1947 partition. His first film, Nagarik (1952), weaved a depressing tale of a young man. His futile job search and the decline of his optimism and ideals when his family plunged into depressing poverty and his love turned bitter. Ghatak then accepted a job with Filmistan Studio in Bombay, but his “different” ideas did not fall well there. However, he wrote the scripts of Musafir (1957) and Madhumati (1958) for Hrishikesh Mukherjee and Bimal Roy, respectively, which later became popular all the time.
Shortly after this, accompanied by his return to his old Calcutta, he made Ajantrik (1958) talk about a taxi driver in a small town in Bihar and his old Chevrolet jalopy. . The classification of passengers gives the film a broader reference and provides a state of the art comedy and drama.
However, his “magnum opus” is none other than Meghe Dhaka Tara (1960), the first film in the trilogy to examine the socio-economic impact of division. The character Nita (played by Supriya Chowdhury) is a breadwinner in a refugee family of five. Everyone is exploiting her and the stress is too strong. She surrenders
Tuberculosis. In an unforgettable moment, the dead Anita shouted “I want to live …” as the camera flew over the mountain, thus highlighting the indifference and eternity of nature, even the chorus. Around the recording.
Despite the complexity, Meghe Dhaka Tara reaches out to the audience with her simplicity, simplicity and unique style of music. Melodrama, a legitimate theatrical form, continues to play an important role in rural Indian and folk theatrical forms. Ghatak goes back to these roots in his show about the familiar struggle for survival, losing strength and the terrible path through repetitive words in real life.
In Meghe Dhaka Tara, day-to-day events turn into episodes: Nita’s painful emotions are intensified with a strong attack on the melody. Shankar’s song of faith in times of despair reaches the level of surrender with Nita’s voice, joins Nita’s urging to live his life as a universal voice of affirmation wandering in nature at the peak of the mountains. Himalayas.
The three main female characters in the film embody the traditional aspects of female power. Viriya Anita is virtuous, nurturing and nurturing; Her sister Gita is a sensual woman; Their mother represents a cruel scene. Anita’s inability to combine and carry all these qualities is the source of her impending tragedy.
In addition, here Ghatak tries to delve deeper into our roots and traditions and discover the universal dimension in it. And for the first time, he says, he experimented with the technique of raising his voice. In this film, Ghatak succeeds in achieving great completeness through the intricate but harmonious blending of each part with the whole interior.
The fabric of the film. Meghe Dhaka Tara goes through amazing artwork that transforms visual images into meaningful transformations …
The music in the film blends perfectly with the scene without disturbing anything else, be it a great orchestra of mountain paintings with a woman moaning or a staccato cough with a growing song. Up.
Here it would be relevant to say that Ghatak weaves a parallel storytelling depicting the famous Bengali legend of Durga, who is believed to come down from her mountain every autumn to visit her parents. Her and Menaka. This double focus, which is consolidated in Neeta figures, is shown to be more complex on the level of
The film language itself through the details when the sound effects are not working together or As comments on images (e.g. refusal Ai go Uma kole loi, e.g. come to my hand, Uma, my child, used through The last part of the film, e.g., on Neeta’s face, which was raining shortly before she left for the sanatorium.
This approach allows the film to go through its story, opening it up to the realm of myths and conventions of cinematic realism (e.g.
“Meghe Dhaka Tara” was performed with Komal Gandhar (1961) in connection with two rival tour companies in Bengal and Subarnarekha (1965). The latter is a disturbing film using music and randomness rather than form.
His next film was Titash Ekti Nadir Naam (1973), produced for a young Bangladeshi producer, focusing on the life and eventual disintegration of the fishing community on Titash. However, the epic ending came after several setbacks during the shooting phase, including his collapse due to tuberculosis and a commercial failure.
It should be noted that Jukti Takko Aar Gappo (1974) is the most biographical and narrative.
His film was made before he died. Here he himself played the main role of Nilkanta, an alcoholic intellectual. The film is said to be critical of Ghatak’s surprising use of wide-angle lenses to the most powerful effects.
Unfortunately for Ghatak, most of his films were not successful. For the remaining years of not publishing, he abandoned almost as many projects as he completed. Eventually, the intensity of his passion that gave his film their energy and emotion caused him pain, as well as tuberculosis and alcoholism. However, he was left behind, but
The rich and complex body of work that no serious scholar of Indian cinema can ignore.
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