Director Tapan Sinha was sublime in the film Sabuj Diper Raja. The film was made especially for children. Tapan Sinha experimented with Sunil Ganguly’s detective stories relating to Kakababu.
In the film, Samit Bhanja played the role of Kakababu. They travelled in a ship from Kolkata to Andaman and Nicobar Islands. Smuggler Panja employed Ramen Roy Choudhury, Biplab Chatterjee and Kalyan Chatterjee to steal a magnetic stone in one of the islands of Andaman. They travelled in the same ship. Samit Bhanja took his nephew Santu with him.
In Andaman, Arun Mukherjee came to attend Samit Bhanja. When a steamer was booked to go to one of the islands, Samit Bhanja jumped from it and swamp towards the island. One of his legs was disabled and that was why he walked on crutches. There he saw one of the Bengali freedom fighters talking with the jarowa tribe. The Bengali was send by the British Government to Andaman for swadeshi activities, then he ran and settled in the islands. He stayed there for another 30 years.
Panja told his men to get the magnetic stone, which always shed light, but the magnet attracted Ramen and he died due to the fire. At the end the police department came, Panja’s men were arrested and Samit Bhanja returned back with Santu to Kolkata. The freedom fighter became the king of the island, and that was why he used to be called Sabuj Diper Raja. He never wanted to return back to India.
Tapan Sinha did excellent shooting in the exotic locations of Andaman and Nicobar Islands. Probably Tapan Sinha did shoot the locations in the different islands of Andaman and Nicobar Islands namely Barathanda Island, Neil Island, Ross Island and Port Blair. All these islands are very unique and colourful. The performance of Samit Bhanja, Arun Mukherjee, Biplab Chatterjee, Kalyan Chatterjee and others were excellent. The film should be preserved.
Showing posts with label tapan sinha. Show all posts
Showing posts with label tapan sinha. Show all posts
Sunday, May 12, 2013
Tapan Sinha did great photography in the film Sabuj Diper Raja.
Director Tapan Sinha was sublime in the film Sabuj Diper Raja. The film was made especially for children. Tapan Sinha experimented with Sunil Ganguly’s detective stories relating to Kakababu.
In the film, Samit Bhanja played the role of Kakababu. They travelled in a ship from Kolkata to Andaman and Nicobar Islands. Smuggler Panja employed Ramen Roy Choudhury, Biplab Chatterjee and Kalyan Chatterjee to steal a magnetic stone in one of the islands of Andaman. They travelled in the same ship. Samit Bhanja took his nephew Santu with him.
In Andaman, Arun Mukherjee came to attend Samit Bhanja. When a steamer was booked to go to one of the islands, Samit Bhanja jumped from it and swamp towards the island. One of his legs was disabled and that was why he walked on crutches. There he saw one of the Bengali freedom fighters talking with the jarowa tribe. The Bengali was send by the British Government to Andaman for swadeshi activities, then he ran and settled in the islands. He stayed there for another 30 years.
Panja told his men to get the magnetic stone, which always shed light, but the magnet attracted Ramen and he died due to the fire. At the end the police department came, Panja’s men were arrested and Samit Bhanja returned back with Santu to Kolkata. The freedom fighter became the king of the island, and that was why he used to be called Sabuj Diper Raja. He never wanted to return back to India.
Tapan Sinha did excellent shooting in the exotic locations of Andaman and Nicobar Islands. Probably Tapan Sinha did shoot the locations in the different islands of Andaman and Nicobar Islands namely Barathanda Island, Neil Island, Ross Island and Port Blair. All these islands are very unique and colourful. The performance of Samit Bhanja, Arun Mukherjee, Biplab Chatterjee, Kalyan Chatterjee and others were excellent. The film should be preserved.
Wednesday, July 13, 2011
Remembering legendary actor Chabi Biswas on his birthday.
Remembering legendary actor Chabi Biswas on his birthday.
The nation remembers legendary actor Chabi Biswas on his birthday on 12th July, 2011. His superlative class of performance had been acknowledged by brilliant directors like Satyajit Ray, Hrithik Ghatak, Raj Kapoor, Tapan Sinha, but he had remained unsung, unhonoured, unlamented.
Ray had a very serious personality and hardly required any improvisation as his innovative scripts had almost everything embedded in them. But Chabi Biswas brought out his own dimensions in the role of Feudal Lord in the film Jalsaghar released in 1958. He combined the aristocracy and the dignity of the feudal lord in the colonial period and at times astonished Ray himself with his dynamic performances.
He even sold his wife’s ornaments to organize a musical program in his banquet room to maintain his dominance as a feudal lord. Singers from renowned classical gharana came and performed in the show and the entire village was invited to witness it. With the loss in revenue and poverty during British regime, he committed suicide by dying on horseback.
He was sublime in the film Debi released in 1960, where he visualized Goddess Kali in the human form in Sharmila Tagore, his daughter –in –law. The entire concept was related to his belief and his son Soumitra took exception about the thing but was helpless. Sharmila Tagore became sick as it was awkward on her part to see his father-in-law touching her feet as she was believed to be Debi, the human form of Goddess.
Chabi Biswas was majestic in his classic role in the film Kanchenjungha released in 1962. Ray experimented with a remote subject where the greatness of the Himalayas freed the mental blockade of middle-class bengalies. Arun Mukherjee, one of the unemployed youth even did not accept the job offered by big industrialist played by Chabi Biswas. At the end of the film Chabi Biswas realized the greatness of the great mountain range and surrendered before it. The film could not be understood by mass audience as it dealt with the concept of realization although the colourful photography of Ray in Darjeeling was well appreciated. But critics had acclaimed Chabi Biswas and said that he was the last name for the depiction of aristocracy in any form.
His dignified performance in the films of legendary directors like Ajoy Kar, Tapan Sinha, Prabhat Mukherjee, Agragami, Agradoot had not been forgotten by the mass. He had remained sublime in Prabhat Mukherjee’s Bicharak (1958) in the role of a charishmatic advocate, Tapan Sinha’s Kabuliwala (1957) in the role of an Afghan father, Ajoy Kar’s Suno Baranari (1960) in the role of a wealthy Barrister, Agragami’s Headmaster (1959) in the role of an old headmaster, Bijoli Baran Sen’s film Manik, where he played the role of a handicapped grandfather, Sudhir Mukherjee’s Dadathakur (1962) where he played the role of Sharat Pandit, Premendro Mitra’s film Chupi Chupi Ase (1960) where he played the role of a detective in a crime thriller film, to name a few. He died in a tragic accident in 1962 and Indian celluloid lost one of its greatest actors ever. His films should be preserved for projection of dynamism, class, dignity, aristocracy and majestic demeanour.
Thursday, June 23, 2011
Tapan Sinha was sublime in the film Sabuj Diper Raja.
Tapan Sinha was sublime in the film Sabuj Diper Raja.
Director Tapan Sinha was sublime in the film Sabuj Diper Raja. The film was made especially for children. Tapan Sinha experimented with Sunil Ganguly’s detective stories relating to Kakababu.
In the film, Samit Bhanja played the role of Kakababu. They travelled in a ship from Kolkata to Andaman and Nicobar Islands. Smuggler Panja employed Ramen Roy Choudhury, Biplab Chatterjee and Kalyan Chatterjee to steal a magnetic stone in one of the islands of Andaman. They travelled in the same ship. Samit Bhanja took his nephew Santu with him.
In Andaman, Arun Mukherjee came to attend Samit Bhanja. When a steamer was booked to go to one of the islands, Samit Bhanja jumped from it and swamp towards the island. One of his legs was disabled and that was why he walked on crutches. There he saw one of the Bengali freedom fighters talking with the jarowa tribe. The Bengali was send by the British Government to Andaman for swadeshi activities, then he ran and settled in the islands. He stayed there for another 30 years.
Panja told his men to get the magnetic stone, which always shed light, but the magnet attracted Ramen and he died due to the fire. At the end the police department came, Panja’s men were arrested and Samit Bhanja returned back with Santu to Kolkata. The freedom fighter became the king of the island, and that was why he used to be called Sabuj Diper Raja. He never wanted to return back to India.
Tapan Sinha did excellent shooting in the exotic locations of Andaman and Nicobar Islands. The performance of Samit Bhanja, Arun Mukherjee, Biplab Chatterjee, Kalyan Chatterjee and others were excellent. The film should be preserved.
Director Tapan Sinha was sublime in the film Sabuj Diper Raja. The film was made especially for children. Tapan Sinha experimented with Sunil Ganguly’s detective stories relating to Kakababu.
In the film, Samit Bhanja played the role of Kakababu. They travelled in a ship from Kolkata to Andaman and Nicobar Islands. Smuggler Panja employed Ramen Roy Choudhury, Biplab Chatterjee and Kalyan Chatterjee to steal a magnetic stone in one of the islands of Andaman. They travelled in the same ship. Samit Bhanja took his nephew Santu with him.
In Andaman, Arun Mukherjee came to attend Samit Bhanja. When a steamer was booked to go to one of the islands, Samit Bhanja jumped from it and swamp towards the island. One of his legs was disabled and that was why he walked on crutches. There he saw one of the Bengali freedom fighters talking with the jarowa tribe. The Bengali was send by the British Government to Andaman for swadeshi activities, then he ran and settled in the islands. He stayed there for another 30 years.
Panja told his men to get the magnetic stone, which always shed light, but the magnet attracted Ramen and he died due to the fire. At the end the police department came, Panja’s men were arrested and Samit Bhanja returned back with Santu to Kolkata. The freedom fighter became the king of the island, and that was why he used to be called Sabuj Diper Raja. He never wanted to return back to India.
Tapan Sinha did excellent shooting in the exotic locations of Andaman and Nicobar Islands. The performance of Samit Bhanja, Arun Mukherjee, Biplab Chatterjee, Kalyan Chatterjee and others were excellent. The film should be preserved.
Wednesday, June 22, 2011
Tapan Sinha was sublime in the film Safed Hathi.
Tapan Sinha was sublime in Safed Hathi.
Director Tapan Sinha did an excellent job with the film Safed Hathi. He made the Hindi film in 1978 especially for children. He won the National film award for children's film in 1978.
In the film, child Ashwani and her elder sister Gayatri Sharma were orphans. They stayed with their maternal uncle Sadhu Meher and his aunty Mala Jaggi. Both ill-treated them. Vijay Anand got some money from producer Utpal Dutta and came to that place a crew to make a film hovering around the story of Aswani.
One day Ashwani was send by her aunt to give a saree to the grandmother. He travelled across the jungle. There he met a white elephant and he called it safed hathi. The elephant gave him a gold coin. He showed it to his sister. His aunt came to know about it and then started pampering him. She bought new clothes for him.
His sister gave the coin to a postman played by Kalyan Chatterjee to go to the city and find out whether the coin was genuine. Kalyan Chatterjee, cheated her, left his job and was going to the city, in the meantime a tiger came and he got killed.
Shatughun Sinha, the king of the district, saw the white elephant and took the help of Ashwin to bring it to his place and tied it with ropes. Ashwin took the help of a bird mynah and brought all the other elephants from the forest to take back safed hathi. He showed where the gold coins were there to his aunt and uncle. Both dug the place, got the coins, but both got beaten by two poisonous snakes.
Tapan Sinha provided the message that animals should be left free to enjoy their existence and human beings should not interfere with them. The performance of Ashwin, Shatrughun Sinha, and others were excellent. The photography was excellent. Composer Ravindra Jain gave classical music and singers Hemlata and Yesudas did justice to the songs composed in the film including “utho he lal utho he”. The film should be preserved and restored.
Director Tapan Sinha did an excellent job with the film Safed Hathi. He made the Hindi film in 1978 especially for children. He won the National film award for children's film in 1978.
In the film, child Ashwani and her elder sister Gayatri Sharma were orphans. They stayed with their maternal uncle Sadhu Meher and his aunty Mala Jaggi. Both ill-treated them. Vijay Anand got some money from producer Utpal Dutta and came to that place a crew to make a film hovering around the story of Aswani.
One day Ashwani was send by her aunt to give a saree to the grandmother. He travelled across the jungle. There he met a white elephant and he called it safed hathi. The elephant gave him a gold coin. He showed it to his sister. His aunt came to know about it and then started pampering him. She bought new clothes for him.
His sister gave the coin to a postman played by Kalyan Chatterjee to go to the city and find out whether the coin was genuine. Kalyan Chatterjee, cheated her, left his job and was going to the city, in the meantime a tiger came and he got killed.
Shatughun Sinha, the king of the district, saw the white elephant and took the help of Ashwin to bring it to his place and tied it with ropes. Ashwin took the help of a bird mynah and brought all the other elephants from the forest to take back safed hathi. He showed where the gold coins were there to his aunt and uncle. Both dug the place, got the coins, but both got beaten by two poisonous snakes.
Tapan Sinha provided the message that animals should be left free to enjoy their existence and human beings should not interfere with them. The performance of Ashwin, Shatrughun Sinha, and others were excellent. The photography was excellent. Composer Ravindra Jain gave classical music and singers Hemlata and Yesudas did justice to the songs composed in the film including “utho he lal utho he”. The film should be preserved and restored.
Sunday, December 12, 2010
Producer RD Bansal passed away.
Producer RD Bansal passed away.
Eminent Producer RD Bansal passed away on 11th December, 2010 at the age of 88 years. During the golden age of Bengali films, that is the 50s and 60s, he produced classic film made by the all the giant directors of Bengal, including Oscar Winning director Satyajit Ray, Dada Saheb Phalke Winner Tapan Sinha, Ajoy Kar, Mrinal Sen, and others. As producer he received the President’s gold medal and silver medal a number of times, the awards for the best feature film made in the respective years.
He produced Ray’s film Charulata and Kapurush Mahapurush. While Charulata dealt with classic literature of Rabindranath Tagore, Kapurush Mahapurush dealt with two different stories. Mahapurush dealt with comedy oriented story of Rajshekhar Basu having pen-name Parashuram, who had social message in the film. Both the films of Ray were classical masterpieces and won several awards both national and international. He also produced Ray’s film Jay Baba Felunath, which was based on the detective stories written by Tagore on the cases solved by Feluda or Prodosh Mitra. He also produced the film Mahanagar.
He also produced Ajoy Kar’ film Saat Pake Bandha. For the brilliant performance in the role of a struggling woman, Suchitra Sen received special jury award from Moscow, Russia.
He produced the film Shashibabur Sangsar, where Chabi Biswas played the brilliant role of the karta of hindu undivided family in the name of Sashibabu. He also produced the film Shesh Porjonto, where Biswajeet Chatterji and Sulata Choudhury played pivotal roles. In the later years he produced the film Nishijapon directed Sandip Ray.
Producers of the present age should learn from RD Bansal, the art of producing meaning realistic films. Although the films were created with intellectual acumen, the common mass had enjoyed them. RD Bansal’s films should be preserved and restored.
Eminent Producer RD Bansal passed away on 11th December, 2010 at the age of 88 years. During the golden age of Bengali films, that is the 50s and 60s, he produced classic film made by the all the giant directors of Bengal, including Oscar Winning director Satyajit Ray, Dada Saheb Phalke Winner Tapan Sinha, Ajoy Kar, Mrinal Sen, and others. As producer he received the President’s gold medal and silver medal a number of times, the awards for the best feature film made in the respective years.
He produced Ray’s film Charulata and Kapurush Mahapurush. While Charulata dealt with classic literature of Rabindranath Tagore, Kapurush Mahapurush dealt with two different stories. Mahapurush dealt with comedy oriented story of Rajshekhar Basu having pen-name Parashuram, who had social message in the film. Both the films of Ray were classical masterpieces and won several awards both national and international. He also produced Ray’s film Jay Baba Felunath, which was based on the detective stories written by Tagore on the cases solved by Feluda or Prodosh Mitra. He also produced the film Mahanagar.
He also produced Ajoy Kar’ film Saat Pake Bandha. For the brilliant performance in the role of a struggling woman, Suchitra Sen received special jury award from Moscow, Russia.
He produced the film Shashibabur Sangsar, where Chabi Biswas played the brilliant role of the karta of hindu undivided family in the name of Sashibabu. He also produced the film Shesh Porjonto, where Biswajeet Chatterji and Sulata Choudhury played pivotal roles. In the later years he produced the film Nishijapon directed Sandip Ray.
Producers of the present age should learn from RD Bansal, the art of producing meaning realistic films. Although the films were created with intellectual acumen, the common mass had enjoyed them. RD Bansal’s films should be preserved and restored.
Sunday, July 11, 2010
Nirmal Kumar - the sophisticated actor of Bengali cinema, should have won more BFJA awards.
Nirmal Kumar – the sophisticated actor of Bengali cinema, should have won more BFJA awards.
Nirmal Kumar had acted in landmark Bengali films during the 50s and 60s. But inspite of his effortless performance in sometimes thoughtful and sometimes complex characters did not earn him many BFJA awards. He acted in the role of literary educated character in the film Sesher Kobita in the early 50s. Then he got a landmark role in Tapan Sinha’s Louha Kapat. He played the role of a jailor who witnessed the stories of different prisoners in his prison. He almost portrayed the observation of Jorasondho, the author of the epic novel.
He played the role of a compassionate doctor in Tapan Sinha’s film Khaniker Atithi. He treated a small boy who was suffering from infirmity in the legs. Later on he came to know that the boy was the child of Ruma Guha Thakurta, the woman he was supposed to marry but could not marry due to different reasons. He even took the child to Kolkata to show him to his senior doctor played by Radha Mohan Bhattacharya who ultimately cured him. His ability to interact with the little child had created a lasting impact in the minds of cinematic audience. He did not win BFJA award for it.
He received the BFJA award for best performance in the film Kamal Lata. He played the role of a muslim poet depicted by writer Sarat Chandra Chatterji who had stayed in Baishnov Ashram and composed devotional songs. His association with one of the devotees played by Suchitra Sen compelled the other members from boycotting her from society. Uttam Kumar played the role of (Srikanto) Sarat Chandra Chatterij and he took Kamallata ( Suchitra Sen) from the place. Nirmal Kumar died at the end of then film. His lips in the song “o mo kokhon shuru” sung by Shaymal Mitra and composed by Robin Chatterji had touched the souls of the viewers of classic films. That was the only time Nirmal Kumar won a BFJA award.
His performance in the film Chaya Shurjo requires special mention. He played the role of the uncle of Sharmila Tagore who was disliked by all the family members and who lost his husband also due to illness. Nirmal Kumar was the poet in the film who was the silent observer of the ill-treatment towards the unfortunate girl in Partho Pratim Choudhury’s epic film. He did not win any award for the landmark performance. His other successful films include Upahaar, Kono Ekdin, Lal Pathor, Bishkonya, etc. In Kono Ekdin, he played the role of a wealthy person, who drove his own taxi in Kolkata and gathered diversified experiences of different persons who drove in his taxi. The role of a thoughtful observer did not earn him any award.
His soft style of performance in majority of films had touched the viewers and for those reasons his films should be preserved and restored.
Nirmal Kumar had acted in landmark Bengali films during the 50s and 60s. But inspite of his effortless performance in sometimes thoughtful and sometimes complex characters did not earn him many BFJA awards. He acted in the role of literary educated character in the film Sesher Kobita in the early 50s. Then he got a landmark role in Tapan Sinha’s Louha Kapat. He played the role of a jailor who witnessed the stories of different prisoners in his prison. He almost portrayed the observation of Jorasondho, the author of the epic novel.
He played the role of a compassionate doctor in Tapan Sinha’s film Khaniker Atithi. He treated a small boy who was suffering from infirmity in the legs. Later on he came to know that the boy was the child of Ruma Guha Thakurta, the woman he was supposed to marry but could not marry due to different reasons. He even took the child to Kolkata to show him to his senior doctor played by Radha Mohan Bhattacharya who ultimately cured him. His ability to interact with the little child had created a lasting impact in the minds of cinematic audience. He did not win BFJA award for it.
He received the BFJA award for best performance in the film Kamal Lata. He played the role of a muslim poet depicted by writer Sarat Chandra Chatterji who had stayed in Baishnov Ashram and composed devotional songs. His association with one of the devotees played by Suchitra Sen compelled the other members from boycotting her from society. Uttam Kumar played the role of (Srikanto) Sarat Chandra Chatterij and he took Kamallata ( Suchitra Sen) from the place. Nirmal Kumar died at the end of then film. His lips in the song “o mo kokhon shuru” sung by Shaymal Mitra and composed by Robin Chatterji had touched the souls of the viewers of classic films. That was the only time Nirmal Kumar won a BFJA award.
His performance in the film Chaya Shurjo requires special mention. He played the role of the uncle of Sharmila Tagore who was disliked by all the family members and who lost his husband also due to illness. Nirmal Kumar was the poet in the film who was the silent observer of the ill-treatment towards the unfortunate girl in Partho Pratim Choudhury’s epic film. He did not win any award for the landmark performance. His other successful films include Upahaar, Kono Ekdin, Lal Pathor, Bishkonya, etc. In Kono Ekdin, he played the role of a wealthy person, who drove his own taxi in Kolkata and gathered diversified experiences of different persons who drove in his taxi. The role of a thoughtful observer did not earn him any award.
His soft style of performance in majority of films had touched the viewers and for those reasons his films should be preserved and restored.
Wednesday, June 16, 2010
Kalipada Sen and Bengali films.
Kalipada Sen and Bengali films.
Composer Kalipada Sen made very valuable contribution in Bengali films during the 50s, 60s and 70s. He faced the keen competition against legendary composers during the golden age of Bengali film music including Robin Chatterji, Anupam Ghatak, Pabitra Chatterji, Anil Bagchi, Salil Choudhury, Sudhin Dasgupta, Nochiketa Ghosh, Manobendra Mukherjee, Hemanta Mukherjee, Shyamal Mitra, and yet created his own identity.
He composed brilliant music in Uttam Kumar’s film Sare Chuattor in 1953. His shyamasangeet “e maya proponchomoy” sung by Dhananjoy Bhattacharya enchanted the viewers. The other song was chorus song “amar ei jouban champachameli bone” where Manobendra Mukherjee, Shyamal Mitra and others did lend their voices. Manobendra Mukherjee and Shyamal Mitra even acted in the film. The film was directed by Nirmal Dey.
In Chitta Basu’s film Chele Kar, Kalipada Sen composed decent music. The comedy film released in 1954 had legendary actors and actresses like Bikash Roy, Chabi Biswas, Arundhuti Debi, Suprabha Debi, to name a few. The songs “badla akash”, “rononigandha”, etc., became hit. Ajoy Kar directed Shyamali in 1956, and Kalipada Sen composed music for the super hit.
He composed music in many successful films of Uttam Kumar including Bidhilipi, Lakhahira, Punarmilan, Kankabatir Ghat, Raja Shaja, Upahar, Biraj Bou, etc. Very significantly he composed music in the films of directors from 50s to 60s. It included Ankush and Nirjan Saikate directed by Tapan Sinha, Darpa Churna directed by Dilip Ray, Bindur Chele directed by Chitta Bose, Sadanander Mela directed by Sukumar Dasgupta, Dui Bari directed by Ashim Pal, Debatra directed by Haridas Bhattacharya, Kathin Maya directed by Sushil Majumdar, Bamuner Meye directed by Ajoy Kar, to name a few.
At the same time he had composed music for all the legendary singers of the golden age including Sandhya Mukherjee, Hemanta Mukherjee, Manna Dey, Shyamal Mitra, Supriti Ghosh, Manobendra Mukherjee and others.
His films and music should be restored and preserved.
Composer Kalipada Sen made very valuable contribution in Bengali films during the 50s, 60s and 70s. He faced the keen competition against legendary composers during the golden age of Bengali film music including Robin Chatterji, Anupam Ghatak, Pabitra Chatterji, Anil Bagchi, Salil Choudhury, Sudhin Dasgupta, Nochiketa Ghosh, Manobendra Mukherjee, Hemanta Mukherjee, Shyamal Mitra, and yet created his own identity.
He composed brilliant music in Uttam Kumar’s film Sare Chuattor in 1953. His shyamasangeet “e maya proponchomoy” sung by Dhananjoy Bhattacharya enchanted the viewers. The other song was chorus song “amar ei jouban champachameli bone” where Manobendra Mukherjee, Shyamal Mitra and others did lend their voices. Manobendra Mukherjee and Shyamal Mitra even acted in the film. The film was directed by Nirmal Dey.
In Chitta Basu’s film Chele Kar, Kalipada Sen composed decent music. The comedy film released in 1954 had legendary actors and actresses like Bikash Roy, Chabi Biswas, Arundhuti Debi, Suprabha Debi, to name a few. The songs “badla akash”, “rononigandha”, etc., became hit. Ajoy Kar directed Shyamali in 1956, and Kalipada Sen composed music for the super hit.
He composed music in many successful films of Uttam Kumar including Bidhilipi, Lakhahira, Punarmilan, Kankabatir Ghat, Raja Shaja, Upahar, Biraj Bou, etc. Very significantly he composed music in the films of directors from 50s to 60s. It included Ankush and Nirjan Saikate directed by Tapan Sinha, Darpa Churna directed by Dilip Ray, Bindur Chele directed by Chitta Bose, Sadanander Mela directed by Sukumar Dasgupta, Dui Bari directed by Ashim Pal, Debatra directed by Haridas Bhattacharya, Kathin Maya directed by Sushil Majumdar, Bamuner Meye directed by Ajoy Kar, to name a few.
At the same time he had composed music for all the legendary singers of the golden age including Sandhya Mukherjee, Hemanta Mukherjee, Manna Dey, Shyamal Mitra, Supriti Ghosh, Manobendra Mukherjee and others.
His films and music should be restored and preserved.
Monday, May 31, 2010
Shiulibari was a noble venture.
Shiulibari was a noble venture.
Shiulibari was a noble venture by director Pijush Bose. Pijush Bose learned work from eminent director Tapan Sinha. The story of the film was written by Subodh Ghosh.
Tapan Sinha wrote the script of the film on behalf of his assistant director Pijush Bose. Uttam Kumar and Arundhuti Debi was given the main roles or the lead casts. Uttam Kumar was the illegitimate son of the zamindar named Rudrababu. Uttam Kumar came to know about this fact after he grew up.
He left the place and went to Palamou in Bihar. Everyone came to know Uttam Kumar with the name Matibabu. He came in association with Arundhuti Debi whom he loved from childhood. Both married each other. They lived in a house which was named Shiulibari.
Uttam Kumar created his own name and fame in Palamou. But when the question came as to the marriage of his daughter Suchanda, again his illegitimacy of birth created controversy. Director Pijush Bose addressed this issue in style.
Uttam Kumar and Arundhuti Debi were excellent in respect of their performance. Pijush Bose later developed as one of the most outstanding assistants of Tapan Sinha who flourished with the same art of story-telling like Tapan Sinha. His films Sanyasi Raja, Bikele Bhorer Phool did excellent business in the mid-70s.
Shiulibari should be preserved and restored for his innovative story, strong direction, powerful casting and brilliant performance of Uttam Kumar and Arundhuti Debi.
Shiulibari was a noble venture by director Pijush Bose. Pijush Bose learned work from eminent director Tapan Sinha. The story of the film was written by Subodh Ghosh.
Tapan Sinha wrote the script of the film on behalf of his assistant director Pijush Bose. Uttam Kumar and Arundhuti Debi was given the main roles or the lead casts. Uttam Kumar was the illegitimate son of the zamindar named Rudrababu. Uttam Kumar came to know about this fact after he grew up.
He left the place and went to Palamou in Bihar. Everyone came to know Uttam Kumar with the name Matibabu. He came in association with Arundhuti Debi whom he loved from childhood. Both married each other. They lived in a house which was named Shiulibari.
Uttam Kumar created his own name and fame in Palamou. But when the question came as to the marriage of his daughter Suchanda, again his illegitimacy of birth created controversy. Director Pijush Bose addressed this issue in style.
Uttam Kumar and Arundhuti Debi were excellent in respect of their performance. Pijush Bose later developed as one of the most outstanding assistants of Tapan Sinha who flourished with the same art of story-telling like Tapan Sinha. His films Sanyasi Raja, Bikele Bhorer Phool did excellent business in the mid-70s.
Shiulibari should be preserved and restored for his innovative story, strong direction, powerful casting and brilliant performance of Uttam Kumar and Arundhuti Debi.
Sunday, December 13, 2009
Teen Murti had memories of Tapan Sinha.
Teen Murti had memories of Tapan Sinha.
Teen Murti had memories of Dada Saheb Phalke Award Winner director Tapan Sinha’s pleasant memories. Tapan Sinha’s story, screenplay and music had been given expression by director Raja Sen in the film Teen Murti.
In the film, Manoj Mitra, Dipankar Dey and Ranjit Mallick at their old age opened a tea stall. Manoj Mitra was a retired ex-station master, Ranjit Mullick was a retired professor, while Dipankar Dey was a senior official who had once worked in the corporate sector. They opened the tea-stall to give a new meaning to their own lives.
Their fight against the social barriers inspire the other generation full of worries including the lives of Joy and Paoli. Paoli had depression for her resentments in romantic life. Manoj Mitra had differences with his wife played by Sabitri Chatterji, that did not stand in the way for going ahead with the project of the tea stall. The bigger reason was to keep themselves busy with some work after the busy life had changed its course.
While the tea stall was opened, the three veterans faced a lot of resistance from the local hooligans. One of such characters was played by Subhashish Mukherjee, a local mastan. The unity between the three vetarans could not allow the hooliganism of Subhashish to outweigh the project of the tea stall. The performances of Ranjit Mullick, Dipankar Dey and Manoj Mitra were excellent. Sabitri Chatterji was one of the most versatile actresses of Bengali films and professional theatre. So nothing new is mentioned if her acting efforts are appreciated.
The new actors and actresses like Paolomi and Joy did well. Even the character artists Papiya Sen and Kanchana Mitra did a good job. The film did not have a commercial masala of entertainment.
But viewers should watch the film to appreciate the efforts of Tapan Sinha in delivering a practical story which is related to an eternal truth that everyone are supposed to be old at some point of time and fight life at that old age with dignity.
Teen Murti had memories of Dada Saheb Phalke Award Winner director Tapan Sinha’s pleasant memories. Tapan Sinha’s story, screenplay and music had been given expression by director Raja Sen in the film Teen Murti.
In the film, Manoj Mitra, Dipankar Dey and Ranjit Mallick at their old age opened a tea stall. Manoj Mitra was a retired ex-station master, Ranjit Mullick was a retired professor, while Dipankar Dey was a senior official who had once worked in the corporate sector. They opened the tea-stall to give a new meaning to their own lives.
Their fight against the social barriers inspire the other generation full of worries including the lives of Joy and Paoli. Paoli had depression for her resentments in romantic life. Manoj Mitra had differences with his wife played by Sabitri Chatterji, that did not stand in the way for going ahead with the project of the tea stall. The bigger reason was to keep themselves busy with some work after the busy life had changed its course.
While the tea stall was opened, the three veterans faced a lot of resistance from the local hooligans. One of such characters was played by Subhashish Mukherjee, a local mastan. The unity between the three vetarans could not allow the hooliganism of Subhashish to outweigh the project of the tea stall. The performances of Ranjit Mullick, Dipankar Dey and Manoj Mitra were excellent. Sabitri Chatterji was one of the most versatile actresses of Bengali films and professional theatre. So nothing new is mentioned if her acting efforts are appreciated.
The new actors and actresses like Paolomi and Joy did well. Even the character artists Papiya Sen and Kanchana Mitra did a good job. The film did not have a commercial masala of entertainment.
But viewers should watch the film to appreciate the efforts of Tapan Sinha in delivering a practical story which is related to an eternal truth that everyone are supposed to be old at some point of time and fight life at that old age with dignity.
Wednesday, July 22, 2009
Chabi Biswas is remembered on his birth anniversary.
Chabi Biswas is remembered on his birth anniversary.
The viewers of Indian cinema remembered Chabi Biswas, the towering actor on his birth anniversary on 12th July, 2009. The legend had been considered the greatest actor ever to grace Indian celluloid by Oscar Winning director Satyajit Ray. Had he not met with a fatal accident in 1962 and died, Ray could have experimented much more with the dignified actor.
Firstly Chabi Biswas was the pivot around whom the entire Bengali film industry revolved. Tapan Sinha relied on the majestic actor in playing the role of Kabuliwala in Tagore’s classic Kabuliwala. Ajoy Kar asked Chabi Biswas to present his dignity in the film Saptapadi where he played the role of the father of Uttam Kumar who could not accept his change of religion from being Hindu to Christian. At the end of the film Chabi Biswas acknowledged the greatness of Suchitra Sen who loved Uttam Kumar, yet sacrificed her affair as she gave word to Chabi Biswas about not meeting him in her entire life.
Chabi Biswas was equally majestic in Ajoy Kar’s classic Suno Boro Nari. His character of Udashin had the right combination of dignity, aristocracy and discipline. He was barrister of reputation who did not allow his daughter Supriya Choudhury to marry Uttam Kumar who was assumed to be a poor homeopathy doctor. But he was left speechless when the actual identity of Uttam Kumar was revealed as a renouned Professor of Literature.
Satyajit Ray’s Jalsaghar tested the range of performance of Chabi Biswas and delivered blood and flesh in the character of Biswambar Roy who was a feudal lord of West Bengal. In fact Chabi Biswas was an unparallel figure in the roles of zamindars during colonial regime. His performance in Karthik Chatterji’s Saheb Bibi Ghulam, Rajen Tarafdar’s Antarikha was equally brilliant, where critics argued that Chabi Biswas even did more than the expectation of the directors in portraying the aristocracy of the zamindars.
Chabi Biswas had acted in more than 250 films during a span of 25 years and articles after articles can be devoted on his different andaz that was displayed in celluloid. His performance in Shambhu Mitra’s film Manik could have brought him Oscar, had the film being send by India abroad. He played the role of a paralytic patient with such diction that the viewers and the directors thought the character from Charles Dicken’s Oliver Twist had come out the pages of the book and appeared onscreen.
Raj Kapoor was astonished to see Chabi Biswas’s performance in his film Ekdin Ratre. The lips given by Chabi Biswas in Manna Dey’s song “ei duniyay bhai sabi hoi” compelled Raj Kapoor to agree that he was the greatest actor Raj Kapoor had seen in Indian films. He in fact regretted the absence of Chabi Biswas in bollywood films which could raised the standard of those films to another dimension.
Viewers still search Chabi Biswas in his unforgettable performances in films like Shashibabur Sangsar, Dada Thakur, Sabar Opore, Head Master, to name a few and never consider his death as a reality. His films should be preserved for the next generation to mark the level of excellence created by the greatest actor of Indian films ever.
The viewers of Indian cinema remembered Chabi Biswas, the towering actor on his birth anniversary on 12th July, 2009. The legend had been considered the greatest actor ever to grace Indian celluloid by Oscar Winning director Satyajit Ray. Had he not met with a fatal accident in 1962 and died, Ray could have experimented much more with the dignified actor.
Firstly Chabi Biswas was the pivot around whom the entire Bengali film industry revolved. Tapan Sinha relied on the majestic actor in playing the role of Kabuliwala in Tagore’s classic Kabuliwala. Ajoy Kar asked Chabi Biswas to present his dignity in the film Saptapadi where he played the role of the father of Uttam Kumar who could not accept his change of religion from being Hindu to Christian. At the end of the film Chabi Biswas acknowledged the greatness of Suchitra Sen who loved Uttam Kumar, yet sacrificed her affair as she gave word to Chabi Biswas about not meeting him in her entire life.
Chabi Biswas was equally majestic in Ajoy Kar’s classic Suno Boro Nari. His character of Udashin had the right combination of dignity, aristocracy and discipline. He was barrister of reputation who did not allow his daughter Supriya Choudhury to marry Uttam Kumar who was assumed to be a poor homeopathy doctor. But he was left speechless when the actual identity of Uttam Kumar was revealed as a renouned Professor of Literature.
Satyajit Ray’s Jalsaghar tested the range of performance of Chabi Biswas and delivered blood and flesh in the character of Biswambar Roy who was a feudal lord of West Bengal. In fact Chabi Biswas was an unparallel figure in the roles of zamindars during colonial regime. His performance in Karthik Chatterji’s Saheb Bibi Ghulam, Rajen Tarafdar’s Antarikha was equally brilliant, where critics argued that Chabi Biswas even did more than the expectation of the directors in portraying the aristocracy of the zamindars.
Chabi Biswas had acted in more than 250 films during a span of 25 years and articles after articles can be devoted on his different andaz that was displayed in celluloid. His performance in Shambhu Mitra’s film Manik could have brought him Oscar, had the film being send by India abroad. He played the role of a paralytic patient with such diction that the viewers and the directors thought the character from Charles Dicken’s Oliver Twist had come out the pages of the book and appeared onscreen.
Raj Kapoor was astonished to see Chabi Biswas’s performance in his film Ekdin Ratre. The lips given by Chabi Biswas in Manna Dey’s song “ei duniyay bhai sabi hoi” compelled Raj Kapoor to agree that he was the greatest actor Raj Kapoor had seen in Indian films. He in fact regretted the absence of Chabi Biswas in bollywood films which could raised the standard of those films to another dimension.
Viewers still search Chabi Biswas in his unforgettable performances in films like Shashibabur Sangsar, Dada Thakur, Sabar Opore, Head Master, to name a few and never consider his death as a reality. His films should be preserved for the next generation to mark the level of excellence created by the greatest actor of Indian films ever.
Monday, July 20, 2009
The nation remembers Uttam Kumar on his death anniversary.
The nation remembers Uttam Kumar on his death anniversary.
The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his death anniversary on 24th July, 2009. He has died almost 29 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.
Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.
When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.
He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.
Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.
Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures.
Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.
Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.
The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his death anniversary on 24th July, 2009. He has died almost 29 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.
Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.
When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.
He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.
Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.
Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures.
Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.
Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.
Friday, June 26, 2009
Review of Tapan Sinha's Golpo Holeo Satti.
Review of Tapan Sinha’s Golpo Holeo Sotti.
Tapan Sinha used to be considered a legendary story-teller after Satyajit Ray in the 50s and 60s. His films were related to classic literature of giant novelists. His casting was flawless. He chose actors and actresses who suited the respective role and he was an inspiration for all the directors of India.
Golpo Holeo Sotti was released in 1966, with the message given by human conscience that work was God. Idle life led to disaster. Robi Ghosh played the role of that human conscience. He worked in as servant in a joint family, where Prashad Mukherjee was the elder brother with Chaya Debi, his wife. The second brother and his wife were dead and they left a daughter who stayed in that house. Bankim Ghosh was the third brother with his wife Bharati Debi. Bhanu Banerjee the youngest brother did not marry. Besides Ajoy Ganguly and his wife was the third generation. Prashad Mukherjee’s old father was alive.
Before Robi Ghosh arrived in their house, none of the other servants stuck in their house. Chaya Debi and Bharati Debi failed to do the domestic work, while the brothers Prashad Mukherjee, Bankim Ghosh, Bhanu Banerjee, etc., did none of the household work after they returned from office. Robi Ghosh joined as a cook and taught the women of the house different varieties of dishes. He even negotiated between Partho Mukherjee, a next door neighbor who loved the daughter of the second son. He took the grandfather for morning walk.
More importantly Robi Ghosh united the brothers who were envious about one another. He taught the small son of Bankim Ghosh the song “sukh bole” which meant once this life ends no one can get back their life, so human beings should make the best use of their lives. Robi Ghosh helped the thrives gang of Chinmoy Roy to steal the trunk in the house full of money. Then he asked Partho Mukherjee to return that trunk back to the old man and the family members so that they could get impressed and ask him to marry the second son’s daughter.
The theme music used by Tapan Sinha in the film was extraordinary. All the actors and actresses of the film performed to their limit. Tapan Sinha’s script and camera work were brilliant. Hrishikesh Mukherjee made the hindi version of the film with the title Bawarchi. Although the film where Rajesh Khanna converted it into a romantic film got box-office success, the film reached nowhere near Golpo Holeo Satti in story-telling, acting performance and intellectual treatment.
Tapan Sinha’s Golpo Holeo Satti should be restored for filmic accomplishments.
Tapan Sinha used to be considered a legendary story-teller after Satyajit Ray in the 50s and 60s. His films were related to classic literature of giant novelists. His casting was flawless. He chose actors and actresses who suited the respective role and he was an inspiration for all the directors of India.
Golpo Holeo Sotti was released in 1966, with the message given by human conscience that work was God. Idle life led to disaster. Robi Ghosh played the role of that human conscience. He worked in as servant in a joint family, where Prashad Mukherjee was the elder brother with Chaya Debi, his wife. The second brother and his wife were dead and they left a daughter who stayed in that house. Bankim Ghosh was the third brother with his wife Bharati Debi. Bhanu Banerjee the youngest brother did not marry. Besides Ajoy Ganguly and his wife was the third generation. Prashad Mukherjee’s old father was alive.
Before Robi Ghosh arrived in their house, none of the other servants stuck in their house. Chaya Debi and Bharati Debi failed to do the domestic work, while the brothers Prashad Mukherjee, Bankim Ghosh, Bhanu Banerjee, etc., did none of the household work after they returned from office. Robi Ghosh joined as a cook and taught the women of the house different varieties of dishes. He even negotiated between Partho Mukherjee, a next door neighbor who loved the daughter of the second son. He took the grandfather for morning walk.
More importantly Robi Ghosh united the brothers who were envious about one another. He taught the small son of Bankim Ghosh the song “sukh bole” which meant once this life ends no one can get back their life, so human beings should make the best use of their lives. Robi Ghosh helped the thrives gang of Chinmoy Roy to steal the trunk in the house full of money. Then he asked Partho Mukherjee to return that trunk back to the old man and the family members so that they could get impressed and ask him to marry the second son’s daughter.
The theme music used by Tapan Sinha in the film was extraordinary. All the actors and actresses of the film performed to their limit. Tapan Sinha’s script and camera work were brilliant. Hrishikesh Mukherjee made the hindi version of the film with the title Bawarchi. Although the film where Rajesh Khanna converted it into a romantic film got box-office success, the film reached nowhere near Golpo Holeo Satti in story-telling, acting performance and intellectual treatment.
Tapan Sinha’s Golpo Holeo Satti should be restored for filmic accomplishments.
Saturday, June 20, 2009
Demise of magician of Sarod - Ustad Ali Akbar Khan.
Demise of magician of Sarod – Ustad Ali Akbar Khan.
The nation pays homage to the departed soul of Magician of Sarod – Ustad Ali Akbar Khan, who died yesterday at an age of 87. He died in his own house at Sanfransisco due to failure of kidneys. He had glorified India’s face in the international arena with his brilliance in the classical instrument Sarod.
His father Alauddin Khan was a genius with maihar gharana. Ali Akbar Khan was born on 14th April, 1922 in the village Shibpur in Kumilla. He learned classical music at an age of 3 years. He learned it from his father and uncle Fakir Abtabuddin. He first performed in a show in Allahabad at an age of 13 years.
In 1956 he created Ali Akbar College of Music in Kolkata. Later he opened more branches of the same college of music in US and Switzerland. From 1965, he regularly took musical classes in US. At the same time with his unique creations in the world of classical music he attracted attention of legendary directors of India like Satyajit Ray and Tapan Sinha.
Satyajit Ray used the brilliant skills of Ustad Ali Akbar Khan in Chabi Biswas’s film Debi. In that film Ustad Ai Akbar Khan was the music director. Chabi Biswas saw Goddess Kali in the body of Sharmila Tagore, his daughter in law in the film. Ali Akbar Khan’s theme music in the film was appreciated within India and abroad.
In the early 60s, Ali Akbar Khan created wonders as music director in Tapan Sinha’s film Khudito Pashan. Tapan Sinha experimented with Tagore’s epic literature. Arundhuti Debi, the powerful actress in the film came in the dreams of Soumitra Chatterji. Ali Akbar Khan’s music reminded people of the medieval period during the rule of many nawabs.
Ustad Ali Akbar Khan also composed music in Bartalucchi’s film Little Buddha, Ivory Merchant’s film House Holders and Chetan Anand’s film Andhia. He left a lot of brilliant students of Sarod including Nikhil Banerjee, Ashish Khan, Alam Khan, to name a few, who are carrying forward his legacy.
Ali Akbar Khan created gems with Pandit Ravi Shankar, the magician of Sitar. Their combined performances made the intellectual audience speechless in different parts of the world. He even composed music for eminent classical singer Ustad Amir Khan. The listeners all across the world pay homage to the genius of Sarod who had made India proud with his brilliance in creative music.
The nation pays homage to the departed soul of Magician of Sarod – Ustad Ali Akbar Khan, who died yesterday at an age of 87. He died in his own house at Sanfransisco due to failure of kidneys. He had glorified India’s face in the international arena with his brilliance in the classical instrument Sarod.
His father Alauddin Khan was a genius with maihar gharana. Ali Akbar Khan was born on 14th April, 1922 in the village Shibpur in Kumilla. He learned classical music at an age of 3 years. He learned it from his father and uncle Fakir Abtabuddin. He first performed in a show in Allahabad at an age of 13 years.
In 1956 he created Ali Akbar College of Music in Kolkata. Later he opened more branches of the same college of music in US and Switzerland. From 1965, he regularly took musical classes in US. At the same time with his unique creations in the world of classical music he attracted attention of legendary directors of India like Satyajit Ray and Tapan Sinha.
Satyajit Ray used the brilliant skills of Ustad Ali Akbar Khan in Chabi Biswas’s film Debi. In that film Ustad Ai Akbar Khan was the music director. Chabi Biswas saw Goddess Kali in the body of Sharmila Tagore, his daughter in law in the film. Ali Akbar Khan’s theme music in the film was appreciated within India and abroad.
In the early 60s, Ali Akbar Khan created wonders as music director in Tapan Sinha’s film Khudito Pashan. Tapan Sinha experimented with Tagore’s epic literature. Arundhuti Debi, the powerful actress in the film came in the dreams of Soumitra Chatterji. Ali Akbar Khan’s music reminded people of the medieval period during the rule of many nawabs.
Ustad Ali Akbar Khan also composed music in Bartalucchi’s film Little Buddha, Ivory Merchant’s film House Holders and Chetan Anand’s film Andhia. He left a lot of brilliant students of Sarod including Nikhil Banerjee, Ashish Khan, Alam Khan, to name a few, who are carrying forward his legacy.
Ali Akbar Khan created gems with Pandit Ravi Shankar, the magician of Sitar. Their combined performances made the intellectual audience speechless in different parts of the world. He even composed music for eminent classical singer Ustad Amir Khan. The listeners all across the world pay homage to the genius of Sarod who had made India proud with his brilliance in creative music.
Saturday, May 2, 2009
Uttam Kumar and Arundhuti Debi.
Uttam Kumar and Arundhuti Debi.
Uttam Kumar in the 50s and 60s acted opposite different actresses, some who were beautiful, like Sumitra Debi, Suchitra Sen, Sharmila Tagore, etc., while others who had wide ranging acting conceptions like Manju Dey, Sabitri Chatterji and others. Arundhuti Debi was one of the highly educated characters whose qualifications were expressed in the characters she had played in a long career spanning over 25 years.
With Uttam Kumar Arundhuti Debi acted in approximately 8 films including Bokul, Shiulibari, Jhinder Bandi, Jotugriha, Nabajanma, Manmayi Girls School, Pushpodhonu and Bicharak. While in Bicharak, she expressed the feelings of a confused sister whose elder sister was married to Uttam Kumar. Uttam Kumar was attracted to Arundhuti Debi and when fire broke out in the house and his first wife Deepti Ray required his help, he declined to help her and allowed her to die. A similar type of case was adjudicated by Uttam Kumar when he was a judge, when Chabi Biswas, the Public Prosecutor talked about the liability of the accused who could have saved the life of his brother, but he did not do so. Uttam Kumar was asked by Arundhuti Debi to examine his own conscience about his liability towards Deepti Roy in Prabhat Mukherjee’s classic film.
Arundhuti Debi and Uttam Kumar showed their comedy conception in the film Manmayi Girl’s School, where they had to pretend to be spouses, because their landlord rented his house to them only on the condition of marriage. But their playacting resulted in an affair with one another. In Pushpadhanu, Arundhuti Debi brought up her husband’s child after he deserted her and got attached with Uttam Kumar who understood the feelings of an established dancer who got recognition but was a loner.
Jhinder Bandi was made with the historical touch of Prisoner of Zenda and Tapan Sinha astonished the viewers with his treatment in the Indian context. The royal style of living of Rajputs was well demonstrated by both Uttam Kumar and Arundhuti Debi. Shiulibari was directed by Pijus Bose, who utilized the talent of Uttam Kumar and Arundhuti in a story based on the life of villagers of West Bengal.
Jotugriha, directed by Tapan Sinha, was probably the most successful film of Uttam Kumar and Arundhuti Debi. In that film lack of begetting a child led to disharmony of the married couple. Both Uttam Kumar and Arundhuti Debi got separated and even after separation never lost the respect of each other. The story ends with both the spouses travelling in to trains which crossed each other. The level of performance of both Uttam Kumar and Arundhuti Debi, was such that there were no Indian actor or actress who could match the standard of performance.
Uttam Kumar was the greatest superstar of Bengali cinema and became one-man industry in the 70s. Critics argue that no Indian star other than Dilip Kumar and Raj Kapoor had the individual charishma which Uttam Kumar had and if his Hindi films clicked he could have created serious competition for the stars of 60s. But Arundhuti Debi’s films with Uttam Kumar were so rich in literature, script and performance that critics argue that the combination addressed the concerns of intellectual audience of the country more than any other combination. The films should be restored for their aesthetic value.
Uttam Kumar in the 50s and 60s acted opposite different actresses, some who were beautiful, like Sumitra Debi, Suchitra Sen, Sharmila Tagore, etc., while others who had wide ranging acting conceptions like Manju Dey, Sabitri Chatterji and others. Arundhuti Debi was one of the highly educated characters whose qualifications were expressed in the characters she had played in a long career spanning over 25 years.
With Uttam Kumar Arundhuti Debi acted in approximately 8 films including Bokul, Shiulibari, Jhinder Bandi, Jotugriha, Nabajanma, Manmayi Girls School, Pushpodhonu and Bicharak. While in Bicharak, she expressed the feelings of a confused sister whose elder sister was married to Uttam Kumar. Uttam Kumar was attracted to Arundhuti Debi and when fire broke out in the house and his first wife Deepti Ray required his help, he declined to help her and allowed her to die. A similar type of case was adjudicated by Uttam Kumar when he was a judge, when Chabi Biswas, the Public Prosecutor talked about the liability of the accused who could have saved the life of his brother, but he did not do so. Uttam Kumar was asked by Arundhuti Debi to examine his own conscience about his liability towards Deepti Roy in Prabhat Mukherjee’s classic film.
Arundhuti Debi and Uttam Kumar showed their comedy conception in the film Manmayi Girl’s School, where they had to pretend to be spouses, because their landlord rented his house to them only on the condition of marriage. But their playacting resulted in an affair with one another. In Pushpadhanu, Arundhuti Debi brought up her husband’s child after he deserted her and got attached with Uttam Kumar who understood the feelings of an established dancer who got recognition but was a loner.
Jhinder Bandi was made with the historical touch of Prisoner of Zenda and Tapan Sinha astonished the viewers with his treatment in the Indian context. The royal style of living of Rajputs was well demonstrated by both Uttam Kumar and Arundhuti Debi. Shiulibari was directed by Pijus Bose, who utilized the talent of Uttam Kumar and Arundhuti in a story based on the life of villagers of West Bengal.
Jotugriha, directed by Tapan Sinha, was probably the most successful film of Uttam Kumar and Arundhuti Debi. In that film lack of begetting a child led to disharmony of the married couple. Both Uttam Kumar and Arundhuti Debi got separated and even after separation never lost the respect of each other. The story ends with both the spouses travelling in to trains which crossed each other. The level of performance of both Uttam Kumar and Arundhuti Debi, was such that there were no Indian actor or actress who could match the standard of performance.
Uttam Kumar was the greatest superstar of Bengali cinema and became one-man industry in the 70s. Critics argue that no Indian star other than Dilip Kumar and Raj Kapoor had the individual charishma which Uttam Kumar had and if his Hindi films clicked he could have created serious competition for the stars of 60s. But Arundhuti Debi’s films with Uttam Kumar were so rich in literature, script and performance that critics argue that the combination addressed the concerns of intellectual audience of the country more than any other combination. The films should be restored for their aesthetic value.
Saturday, January 17, 2009
Remembering Tapan Sinha - the legendary storyteller.
Remembering Tapan Sinha – the legendary story – teller.
Tapan Sinha, the legendary story-teller and path-breaker in Bengali cinema had died recently at the age of 84 years. Very recently he had been awarded the highest award Dada Saheb Phalke for his notable contribution to films for more than 50 years. Being a big admirer of John Ford and Billy Wilder, Tapan Sinha worked under the dynamic personility Charles Cryton in Pinewood Studios in London.He returned back to India with a vision of merging the environment, mystery, tribal reality, social concerns with literary flavour and his dynamism shaped and nurtured silver screen from its infancy to a field of exhibition of work of art.
Most of his films received awards in India including national awards and also international awards. He had used the immortal literature of legendary writers of Bengal including Rabindranath Tagore, Jorasondho, Sorodindu Bandhopadhyay, Subodh Ghosh, to name a few and mesmerized the audience with his powerful script, outstanding camera work, meaningful casting and innovative story-telling.
The subjects with which he had made films never matched with each other showing the dynamism of the legend of legends. The story of Kabuliwala was based on Tagore’s realization of affection of an afghan father for his small daughter. Chabi Biswas astonished the viewers with his dynamic performance and created a standard which was not reached by even stalwart actor of bollywood Balraj Sahani in Bimal Roy’s Kabuliwala.
In that respect, no other director other than Satyajit Ray had such a strong casting sense that was exhibited by Tapan Sinha. His team of actors varied from film to film and the audience found that the actor or actresses he chose in the respective film matched the literary character that was depicted in novels. Nirmal Kumar, the jailor in the film Louhakapat was matchless with his poetic eyes which expressed his compassion towards the prisoners.
His casting of Uttam Kumar in the film Jhinder Bandi, the adaptation of Anthony Hopp’s Prisoner of Zenda, stormed Bengali films in the early 60s. Uttam Kumar looked like a European actor on horseback which was required in the film considering the chivalry that was required from Shankar Narayan Singh, the prince of Jhind, a land of warriors. The same Uttam Kumar was used in a different way by Tapan Sinha in the film Jotu Griha.
Uttam Kumar was a notable engineer in the film, who married Arundhuti Debi, but could not beget any child due to deficiency of Arundhuti Debi. He had property, pomp, grandeur, recognition in the society, yet due to lack of children ultimately the relationship ended up in separation. In their separation also the relationship between Uttam Kumar and Arundhuti Debi was divine, and their feelings for each other touched the souls of the audience when in the last scene their trains crossed one another thereby providing a new path for the spouses. The depiction of Anil Chatterji, a middle-class worker in Uttam Kumar’s firm who had many children and was needy, yet happy with his struggling life, had not been forgotten by cinematic audience.
The same Tapan Sinha brought out the best from Tragedy King Dilip Kumar in the film Sagina Mahato, which was remade in hindi as well. Dilip Kumar was tribal leader and leader of worker’s union in the hilly districts of West Bengal. He was used by the local political leaders including Anil Chatterji for mobilizing the ideal youth of the place, but when Dilip Kumar gained popularity, his powers were taken away and he was proved to a traitor. The powerful performance of both Dilip Kumar and Anil Chatterji had not been forgotten by cinematic audience even after 40 years of the date of creation of the film.
He used Ashok Kumar and Vaijayantimala in style in the film Hate Bajare, where the notable contribution of a compassionate doctor attracted the attention of the viewers. Villains like Ajitesh Banerjee and comedians like Chinmoy Roy surprised the viewers with a different style of acting. Again in Nirjan Saikate, Anil Chatterji’s performance as an observer questioned the fate of five widows in the film namely Sharmila Tagore, Ruma Guha Thakurta, Bharati Devi, Chaya Devi, Renuka Debi, all of whom received National awards for their individual performance.
When the works of Tapan Sinha are analyzed it becomes a question to the historians in respect of where to start and when to end. The work of Kali Banerjee, a compounder in the film Arohi, with an emotional relationship with his master played by Bikash Roy, requires special mention. The feelings of a semi-educated rural person was displayed in style by Kali Banerjee who sacrified his earnings for the education of his master’ son.
Tapan Sinha’s other landmark films include Khudito Pashan, Khaniker Atithi, Golpo Holey Sotti. Tapan Sinha even showed the unrest existing in Kolkata during the naxalite period in films like Ekhoni and Aponjon. Besides there were films based on reflections like the film Atithi were Tagore’s complex observations were highlighted. His comedy films like Bancharamer Bagan and Baidurjo Rahasya addressed the interests of common audience of the country.
Radhamohan Bhattacharya, an eminent scholar and versatile personality was used by Tapan Sinha in dynamic roles like the royal diwan in Jhinder Bandi, the medical expert in Khoniker Atithi, the noted novelist in Kabuliwala and the urdu poet in Khudito Pashan.
In the late 90s, Tapan Sinha even made films based on antisocial activities like Antardhan and Atonko, where Soumitra Chatterji depicted the concerns of middle-class father in a complex society. Most of Tapan Sinha’s films were remade in hindi and provided fresh ideas for other directors in bollywood industry like Bimal Roy, Hrishikesh Mukherjee, etc.
He is probably the most unsung, unrecognized, unlamented maestros of golden age of Bengali cinema, but the intellectuals of India and abroad consider Tapan Sinha as the greatest director of all times after Satyajit Ray and had remained an institution by himself.
The viewers pay their regard and respect to the departed soul.
Tapan Sinha, the legendary story-teller and path-breaker in Bengali cinema had died recently at the age of 84 years. Very recently he had been awarded the highest award Dada Saheb Phalke for his notable contribution to films for more than 50 years. Being a big admirer of John Ford and Billy Wilder, Tapan Sinha worked under the dynamic personility Charles Cryton in Pinewood Studios in London.He returned back to India with a vision of merging the environment, mystery, tribal reality, social concerns with literary flavour and his dynamism shaped and nurtured silver screen from its infancy to a field of exhibition of work of art.
Most of his films received awards in India including national awards and also international awards. He had used the immortal literature of legendary writers of Bengal including Rabindranath Tagore, Jorasondho, Sorodindu Bandhopadhyay, Subodh Ghosh, to name a few and mesmerized the audience with his powerful script, outstanding camera work, meaningful casting and innovative story-telling.
The subjects with which he had made films never matched with each other showing the dynamism of the legend of legends. The story of Kabuliwala was based on Tagore’s realization of affection of an afghan father for his small daughter. Chabi Biswas astonished the viewers with his dynamic performance and created a standard which was not reached by even stalwart actor of bollywood Balraj Sahani in Bimal Roy’s Kabuliwala.
In that respect, no other director other than Satyajit Ray had such a strong casting sense that was exhibited by Tapan Sinha. His team of actors varied from film to film and the audience found that the actor or actresses he chose in the respective film matched the literary character that was depicted in novels. Nirmal Kumar, the jailor in the film Louhakapat was matchless with his poetic eyes which expressed his compassion towards the prisoners.
His casting of Uttam Kumar in the film Jhinder Bandi, the adaptation of Anthony Hopp’s Prisoner of Zenda, stormed Bengali films in the early 60s. Uttam Kumar looked like a European actor on horseback which was required in the film considering the chivalry that was required from Shankar Narayan Singh, the prince of Jhind, a land of warriors. The same Uttam Kumar was used in a different way by Tapan Sinha in the film Jotu Griha.
Uttam Kumar was a notable engineer in the film, who married Arundhuti Debi, but could not beget any child due to deficiency of Arundhuti Debi. He had property, pomp, grandeur, recognition in the society, yet due to lack of children ultimately the relationship ended up in separation. In their separation also the relationship between Uttam Kumar and Arundhuti Debi was divine, and their feelings for each other touched the souls of the audience when in the last scene their trains crossed one another thereby providing a new path for the spouses. The depiction of Anil Chatterji, a middle-class worker in Uttam Kumar’s firm who had many children and was needy, yet happy with his struggling life, had not been forgotten by cinematic audience.
The same Tapan Sinha brought out the best from Tragedy King Dilip Kumar in the film Sagina Mahato, which was remade in hindi as well. Dilip Kumar was tribal leader and leader of worker’s union in the hilly districts of West Bengal. He was used by the local political leaders including Anil Chatterji for mobilizing the ideal youth of the place, but when Dilip Kumar gained popularity, his powers were taken away and he was proved to a traitor. The powerful performance of both Dilip Kumar and Anil Chatterji had not been forgotten by cinematic audience even after 40 years of the date of creation of the film.
He used Ashok Kumar and Vaijayantimala in style in the film Hate Bajare, where the notable contribution of a compassionate doctor attracted the attention of the viewers. Villains like Ajitesh Banerjee and comedians like Chinmoy Roy surprised the viewers with a different style of acting. Again in Nirjan Saikate, Anil Chatterji’s performance as an observer questioned the fate of five widows in the film namely Sharmila Tagore, Ruma Guha Thakurta, Bharati Devi, Chaya Devi, Renuka Debi, all of whom received National awards for their individual performance.
When the works of Tapan Sinha are analyzed it becomes a question to the historians in respect of where to start and when to end. The work of Kali Banerjee, a compounder in the film Arohi, with an emotional relationship with his master played by Bikash Roy, requires special mention. The feelings of a semi-educated rural person was displayed in style by Kali Banerjee who sacrified his earnings for the education of his master’ son.
Tapan Sinha’s other landmark films include Khudito Pashan, Khaniker Atithi, Golpo Holey Sotti. Tapan Sinha even showed the unrest existing in Kolkata during the naxalite period in films like Ekhoni and Aponjon. Besides there were films based on reflections like the film Atithi were Tagore’s complex observations were highlighted. His comedy films like Bancharamer Bagan and Baidurjo Rahasya addressed the interests of common audience of the country.
Radhamohan Bhattacharya, an eminent scholar and versatile personality was used by Tapan Sinha in dynamic roles like the royal diwan in Jhinder Bandi, the medical expert in Khoniker Atithi, the noted novelist in Kabuliwala and the urdu poet in Khudito Pashan.
In the late 90s, Tapan Sinha even made films based on antisocial activities like Antardhan and Atonko, where Soumitra Chatterji depicted the concerns of middle-class father in a complex society. Most of Tapan Sinha’s films were remade in hindi and provided fresh ideas for other directors in bollywood industry like Bimal Roy, Hrishikesh Mukherjee, etc.
He is probably the most unsung, unrecognized, unlamented maestros of golden age of Bengali cinema, but the intellectuals of India and abroad consider Tapan Sinha as the greatest director of all times after Satyajit Ray and had remained an institution by himself.
The viewers pay their regard and respect to the departed soul.
Thursday, November 22, 2007
Tapan Sinha
Tapan Sinha – the Creative Genius of Bengali Classical Cinema.
Tapan Sinha can be considered as the most dynamic creator of Bengali films after Satyajit Ray, who had glorified the Bengali golden age of Classical cinema with his outstanding vision. Being a legendary figure of the 50s, 60s and 70s, much have been written about the maestro whose significant films can be considered as masterpieces. What has not been written is that the standard of excellence he had created in those films cannot be replicated in hindi or any other regional films.
Firstly Tapan Sinha was fond of Classical literature and as such in his films the characters from the popular novels and short stories became lively in blood and flesh in celluloid. He made Kabuliwala based on Tagore’s epic short story, in 1957, which was astonishing for the viewers. Chabi Biswas, the greatest actor ever, to grace Bengali screen, mesmerised the audience with his dynamic performance of an Afghan character Rahmat. Chabi Biswas met few Afghans who sell mewa, peshta in the streets in Kolkata, personally to personify their characteristics in the role. Tinku Thakur, who played the role of the little girl Mini, was the best child artist ever to appear in Bengali films and the entire credit goes to Tapan Sinha for choosing her. Radha Mohan Bhattacharya was a grand scholar and his literary skills were synchronised with the role of Mini’s father who was a novelist in Tagore’s story. Manju Dey, the mother of Mini, was probably the most powerful character artist in the 50s, and she never looked like acting, every gesture of her seemed natural. Tapan Sinha’s script was outstanding by every standard. The film got national and international awards.
Tapan Sinha continued with his picturisation of classical literature in the following years. His brilliant film Louha Kapat was based on Jorasondho’s epic novel, which dealt with his experiences of different prisoners which he witnessed as a Jailor. The central character was played brilliantly by Nirmal Kumar whose poetic eyes showed the expression of observer. Chabi Biswas was again majestic in his notable role. Kali Banerjee’s performance as was one of the prisoners who was convicted for murder charge requires special mention. There were so many characters, out of which, Tapan Sinha picked up few and did not change the flow of literature in the novel. The other film Khoniker Atithi speaking about a handicapped boy who was cured by Nirmal Kumar, a doctor, who was compassionate about the mother of the child who was widow (played by Ruma Guha Thakurada), in the entire film, merged the pathos of the story with the elegance of camerawork.
In 1961, Tapan Sinha, came up with Bengali version of Hollywood film Prisoner of Zenda, titled Jhinder Bandi, it was related to a story of two twin brothers, with one of them, Shankar Narayan Singh, the king of Jhind, being kidnapped by his other brother and later freed by the twin brother. Uttamkumar, the dynamic personality of Bengali films, played a double role in the film, exhibiting the royal andaz of the historical character in the film, including sword fighting with anti-hero Soumitra Chatterji. The shooting of the film in the mountains and the lake palace required extraordinary skill. Radhamohan Bhattacharya showed the dignified personality of a Diwan who was the protector of the state and Tapan’s Sinha’s faith in his casting was bolstered by his brilliant display of royal character. Tapan Sinha’s wife Arundhuti Debi, was aristocrat in real life with her Rabindrik education of Shantiniketan and it helped her to display the role of the queen in the film who previously gave a life time performance in Tapan Sinha’s Khudito Pashan based on Tagore’s classic literature.
In 1963, Tapan Sinha, created Nirjan Saikate, a film showing the tragic story of 5 widows who came on a pilgrimage to the holy place at Puri. Anil Chatterjee, one of the other dynamic actors of Bengali cinema, played the role of the observer who went to Puri, and by acknowledging the rich sculptures of Sun Temple in Konark, convinced Sharmila Tagore, that the work of art of the unknown artists depict the fact, life is precious and human beings are expected to utilise their life for some immortal work by rising above their personal sorrow, sniffles, etc. The film received President’s gold medal, and significantly all the widows, five of them, Chaya Devi, Renuka Devi, Bharati Devi, Sharmila Tagore and Ruma Guha Thakurta received national award in that year, which has happened only once in the history of Indian cinema.
In 1964, Uttamkumar produced Jatugriha, based on the story of Subodh Ghose which was directed by Tapan Sinha. The film displayed the complexity of a rich couple living in Kolkata who did not have children with Arundhuti Debi playing the role of the wife who could not bear a child in her life. Significantly both Uttamkumar and Arundhuti Debi loved children a lot and the incapability led to domestic unhappiness which ultimately led to separation. The ending of the film was significant as both Uttamkumar and Arundhuti Debi rode on two trains which crossed each other in opposite directions. In their separation also both the husband and wife had mutual respect for each other. It can be classified as one of the most thoughtful cinema made by Tapan Sinha. In the following year Tapan Sinha made Atithi, based on Tagore’s story talking about the life of a bohemian character who travelled from one village to another whose mind never settled in one place.
Tapan Sinha also made Hate Bajare, where Ashok Kumar (Dadamoni) played the role of a village doctor who witnessed the tragic conditions of villagers who were subject to backwardness and oppression by the middlemen. Dilip Kumar gave a life time performance in Tapan Sinha’s Sagina Mahato, where a trade union leader was utilised for own benefit by the political forces of the region and exploited to the fullest extent. Anil Chatterji, the political activist countered Dilip Kumar in the tassel of muscle power in the film.
Tapan Sinha was a source of inspiration for film directors in Bombay to make realistic films. His film Kabuliwala was remade in hindi by Bimal Roy, with Balraj Sahani playing the role of Kabuliwala. His film Golpo holey Satti, 1966, was made in hindi by Rishikesh Mukherjee tilled Bawarchi in 1972. Tapan Sinha made a hindi version of Sagina in 1974, with Dilip Kumar playing the same role. Tapan Sinha’s Arohi, was picturised in hindi with the title Arjun Pandit, where Sanjeev Kumar played the central character which was played by Kali Banerjee in the Bengali film.
Tapan Sinha even depicted the naxalite movement in the films Ekhoni, Aponjon, in the 1970s and local unrest in the late 80s in films like Atonko, Antardhan, etc. The distinctive feature of Tapan Sinha’s films include, strong script, powerful story telling and superlative use of theme music. He chose locations which were romantic, picturesque and were colourful even during the black and white era which justified the depiction of the story. It is difficult to describe the immortal work of Tapan Sinha in a small article as he made around 35 films in a span of 40 years and each of the works can be scanned for cinematic, poetic and musical value. An archive should be created to preserve the works of Tapan Sinha for the film makers of present generation to learn to use classic literature to reach the message of the literary giants to the people at large.
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