Q can be credited to bring to the fore that realization again – to relook at the caged mundane existence and an inspired belief to break free. That is why we find him, in the first part, deliberating with the repeated drudgery of existence when the characters utter the same dialogue over and over again, from different angles and voice modulation.
The book is strewn with numerous anecdotes, well researched and yet not veering on cheap sensationalism on two most distinguished and respected stars of Indian cinema.
Bengali cinema will remember Rituparno Ghosh for being a pioneer and a host of young directors need to attribute their courage to take up the camera to this diminutive, ‘feminine’ individual. The meandering lines in Nandan to pay the last tributes as he was lying there reminded of a day 21 years back. Like his mentor Satyajit Ray with whom he was most often compared (if not from creative perspective) the influence on the general Bengali psyche that Ritu could muster was phenomenal. He was actually a part of the living-room existence – the reason people thronged from far off places to pay their last tributes. He could connect with the urban intelligentsia and his films could portray women in a radiant light of their own – probably better than anyone else.
Rituparno Ghosh, tried to put up a slice of life topped with contradictions and anomalies – he succeeds fairly and Chitrangada will remain an important film in Indian cinema for raising the doubts, contradictions and confusions about identity – sexual and/or gender.
What sets Soumitra apart? On one side, he had been thriving and bursting with creative restlessness that makes him a more complete creative persona – he being a poet, an elocution artist, editor for two decades of one of Bengal’s most versatile literary magazines and an actor. Notwithstanding 14 of Ray’s films, he had acted with all major directors of Bengal barring Ritwik Ghatak.
Rang Milanti is a moderately enjoyable film. It could have been cut short quite a bit to bring in some speed to it. Considering Koushik’s previous, enigmatic Arekti premer golpo (Just another love story, 2010) this can be passed on easily as a drab.
French auteur Jean Luc Godard once quipped, “Cinema doesn’t query the beauty of the woman, it only doubts her heart”. Can we replace ‘Cinema’ with ‘Society’ here?
Charlie Chaplin’s most films promote the unvanquished – the triumph of will to overturn any trouble or hardship in life. It is irony, a film made on a character who takes up Charlie to impersonate is laden with so much casual sentiments. This is such a defeating philosophy that the film is not saved.
Urochi Thi is a good film. It’s crisp and yet it makes you laden with an inexplicable heaviness of soul. This is the director’s first film and hence it is apparent that he tries to punch in too many things and characters in one go. Few could have been dispensed with to make the film look petite. But none-the-less in the era of self indulging prophetic film makers, this film is for the urban mass that can surely recognize few of the characters.
How can a man be so handsome, I asked myself everytime I looked at him? In those pre-teen years of stupidity and innocence, in falling in love and falling apart, Shammi Kapoor with his wild, beastly submission was just what I could never become.