Bengali literature in all its richness has been a constant influence on the world of films, both for bengali and hindi films. While some of the adaptations like Devdas, Parineeta or Kabuliwala are more common and widely acknowledged, there are a host of films influenced by bengali literature that are not so commonly recalled. This includes films based on full scale novels, short stories, poems and more. Some of these films credit the source as the official adaptation, some of them do not. But the inspiration behind the story-line is not be be missed, especially when the authors behind the literary references are some of the most illustrious names of Bengali Literature ranging from Rabindranath Tagore to Sarat Chandra Chattopadhyay to Ashutosh Mukhopadhyay to Ashapoorna Devi to Subodh Ghosh and more.
The official trailer of the next big release, Salman Khan starrer Bharat is out, and this could be a Masala film done right! Other than the initial phase of Bharat and his 60s avatar, the rest of the getups and personas seem to be on point, and Salman Khan holds on to the challenge. Katrina Kaif though steals the show with a great first impression as Madam Sir, her introduction scene of the trailer is particularly good. Ali Abbas Zafar may have got it right for the genre he wants to hit.
Bharat releases on June 5th as the big Eid release.
The new Netflix film Music Teacher reverberates with echoes from the past that scream about regrets, incompleteness, and pangs of unrequited love in its silences. Directed by Sarthak Dasgupta, and co-written by Dasgupta and Gaurav Sharma (dialogues), the film tells a visually lyrical story about how a failed music teacher confronts his demons from the past at every step, and is torn up internally by his realities of not getting anywhere in life while being bogged down by the astounding success of his own protege against her will, and losing her in the process.
Golmaal directed by the legendary filmmaker Hrishikesh Mukherjee is an all time classic! Arguably the best comedy ever written for the hindi film screen, the film thrives on its brilliant one liners written by Rahi Masoom Raza, so full of unadulterated humor that they can invoke a laugh any time of the day and every single time! They have forgotten to write such films and dialogues now. We also hence do not remember the films of today and their dialogues by heart like that of this classic film!
In one of the defining scenes of Kalank, Roop breaks the fourth wall and throws a question back to the audience to know “To aapne is kahaani me kya dekha – Kalank ya Mohabbat? ” I wish she could hear me saying “Kaash kuchh to dikh jaata..”
And that in a nutshell is Kalank for me – a colossal disappointment as grand and as empty as the world it creates.
Laakhon Mein Ek Season 2, as created by Biswa Kalyan Rath, and directed by Abhishek Sengupta, is a grounded tale of suburban and rural India that exposes the deep rooted corruption and process inefficiencies of our medical institutions. At another level, it is also the coming of age story of a brave, young doctor, who is punished with a rural posting in a hostile village, and how she practically turns things around towards good without differentiating between duty and responsibility unlike what her seniors preach her to practice.
Gulzar, in one of his reminiscences of Pancham, had once said..
“Ye ghalat hain ki waqt guzar jaata hain.. Waqt, time eternal hain, permanent hain.. aur kabhi nahi guzarta.. Jo guzar jaata hain woh hum aur tum hain..”
In Churni Ganguly’s Tarikh, the three central characters Ani, Ira or Rudra could have easily said the same about life as it happens to them. The footprint that one creates during a lifetime on the minds and hearts of the near ones, or not so near ones, either in the real or virtual world’s timeline, becomes a permanent impression for life, even after people are long gone. The timeline hence gets frozen in eternity, and becomes a staggering documentation of what people stand for or cannot stand for in their lifetime – beliefs, fear, aspirations, insecurities, or passing emotions of joy, pain, envy, love, loss and everything in between.
Srijit Mukherji has been the most prolific filmmaker for Bengali cinema in the last one decade. He is also the one who has possibly the most loyal fan base at one end, and the harshest critics of his work on the other. The filmmaker, who started his journey with the intent to make one film with each letter of the English alphabet, made his first film in 2010, and has already made fourteen films in his last ten years of active filmmaking. He will add a couple more to his filmography by the end of this year, and there are at least three more active projects already lined up for next year too.
Mukherjee Dar Bou is what happens when the intent of making a film about free spirited thinking against a regressive patriarchal backdrop gets terribly hampered by a writing style and character development heavily influenced by the daily bangla soaps of today! An important story about everyday women fighting their own insecurities and for their identities, while becoming the biggest enemies of each other as severely conditioned by the regressive societal upbringing and unconscious patriarchal thinking, gets completely lost in execution since debut filmmaker Pritha Chakraborty and writer Samragnee Bandopadhyay only know the over the top, theatrical and terribly cliched narration style to deliver their message. And it feels extremely sad when two women cannot shape the content about women in a dignified, poignant and effective way, and almost fall into the same trap of typical cliches that they want their protagonists to overcome and be victorious in life.
In Abhiroop Basu‘s short film titled Meal, silence speaks the language of chaos, decay, and overall societal disintegration. We meet a loveless family of four that is struggling to get over an abusive domestic situation in their own ways. They don’t exchange a single word between themselves, but their anger, pain and everything falling apart around them is evoked through a series of very strong visuals of a chaotic household. In a way, this home in focus is also a derivative of the society at large that is the victim of the widespread communal hatred and looming violence – as we hear echoing from the radio bulletin in the background.