PM Review

  Since I have started watching films from the classical age, especially from 1940s & 1950s, I am getting, as I said before, a bit of a structuralist in finding the shared themes & reality that are omnipresence.   The value of being authentic & simple in life is always lower in the eyes of people. The skilled and educated persons who suffered most to get the employment is a recurrent condition in Bibhutibhushan Bandyopadhyay’s male protagonist as it is depicted in Raj Kapoor’s Shree 420 [1955]. While watching Shree 420, I was thinking simultaneously about Aparajito’s Apu & Aranyak’s  Satyacharan who had experienced the same existential predicament s in life but Shree 420’s Raj projection largely satirical and cinematic melodrama but it touches the hearts of millions. Sometimes I think what if Shree Raj Kapoor would not follow little tramp’s attire and attitude the way Chaplin did, and would make his own way. He is just gorgeously talented in facial ex...

I think, as of my updated knowledge about all time best romantic imagery in cinema history, Raj Kapoor’s Barsaat [1949] where Pran [Raj Kapoor] playing a violin on hand and Reshma [Nargis] falling like a chiffon saree and stuck on the other hand of Pran like broken arrow is one of the most uplifting and sublime cinematic imagery I have ever seen. It is one of most imitable and ardent romantic poses any cinema maker can dream of to have one’s creative venture.   The battle between hedonist & crude epicurean what Gopal [Prem Nath] is sunk into with lust & luxury versus virtuous & idealistic principles what Pran [Raj Kapoor] is envelope with is the most enticing cinematic prognosis that is copied henceforward in South Asian cinematic narrative.   Lata Mangeshkar’s exuberant and melodious song “Jiya Beqara Hai '' has put an unfathomable impression on my mind that I have been humming the tune all day long. And the acting style of Prem Nath is so elegant and soph...

The moving scenes with the iconic song "Ghar Aaya Mera Pardesi" in Raj Kapoor’s Awaara [1951], another chronic incredible screenplay written by K.A. Abbas, where RK & Nargis are sailing on a boat, that amazing imagery with intensive emotions over their faces and movements and postures only reminds me of the scenes with song “My Heart will Go on” played by Leonardo Di Caprio & Kate Winslet in James Cameron’s Titanic [1997].  The dream sequence where some sets were designed with fogs, mythological statues and spiral stairs are supposedly the dreamiest compositions created in Indian cinema. It is as arresting as the aura of the song “City of Stars” in Damien Chazelle’s La La Land [2016]. Though the film has a social reformist message and love was not the core part, Raj & Nargis’s passionate and bold romance in the song made this film a solid romantic. The tramp style performance following Charlie Chaplin is a masterpiece. I haven't seen any other actors who have ...

  Amitabh Bachchan in K.A. Abbas’ Saat Hindustani [1969] is his silver screen debut as pacifist poet, a muslim, Urdu native speaker from Bihar and an undefeatable warrior to liberate Goa from the Portuguese colony. I was not aware before that “Liberation Goa” and “Anti-Hindi Allegation” during the 60s had been happened on such a great scale.   K.A. Abbas is [I will present tense because the creative persons live forever] such a prolific creative persona & auteur both in literature and cinema.  I will not know him if I wouldn’t see his Dhatri Ke Lal [1946] & as his screenplay of Niccha Nagar [1946] won Palme de ’Ore in Cannes Festival as first and only Indian film till now; besides his marvelous collaboration with Raj Kapoor and his films are groundbreaking in Indian cinema.   I don’t know if I am right or not. It seems Saat Hindustani may be one of the pioneers of Indian nationalistic political thriller. The forerunner of representing Pan-Indian nature i...

When I have started searching archival data and literary & artistic data on the Great Bengal famine to write a novel on pre-independence age, Japanese invasion of Burma [present Myanmar], American military base on Calcutta [present Kolkata], the Bengal famine, communal riot and partition in a greater scale back in 2018. I did not find much in Bengali initially significant except sketches of Chittaprosad Bhattacharya and Zoynul Abedin; in 2021 I came to know that Satyajit Ray’s Ashani Sanket [1973] is based on Bengal Famine which was adapted from Bibhutibhushan Bandyopadhyay’s eponymous novel [1959]. I read this novel in 2023. Chittaprosad, ‘’Life behind the Front Lines’’, page from People’s War, 24 September, 1944; Source: P.C Joshi Collections, Dr. B.R Ambedkar Central Library, JNU, Delhi Source: https://indigenousweb.com/blog/chittaprosad-bhattacharya-political-art/ Khwaja Ahmed Abbas’ Dharti Ke Lal [1946] shares some common features and outline of the narrative loosely both Me...

  Mehboob Khan’s Mother India [1957] is a melorealistic movie [I prefer to use MELODRAMA when the story is written fully on fictional ground & MELOREAL when story is adapted from real incidence with fictional touch ] I have seen after Bimal Roy’s Do Bigha Zamin [1954] just the following Satyajit Ray’s Pather Panchali [1955]. It’s evidently clear that South Asian cinema had flourished after post-independence & partitions.   The first half, till Ramu & Birju being grown up, is a superbly a true realist film and is commendable but it turned into melodramatic with so many subplots and compulsively emotional chronicles that made Mother India a near epical cinema. Mother India had a probability to fall into the genre of Akira’s Rashomon [1950] in respect of the high morality of women character and with all the loopholes of social justice. But its hyperbolic melodrama kept it stayed back with the Indian formula film.   There are some establishing and epic s...

  K. Asif’s Mughal e-Azam [1960] is one of the wonders in world cinema, as Tajmal is in the world architectural beauty. South Asian cinema cannot get rid of its influence especially Sanjay Leela Bhansali’s period films are greatly influenced by its parts of narrative style especially queen Jodha’s waiting to meet with her son prince Salim after many years later. The same dramatic style and facial expressions I noticed in Bhansali’s Devdas when Devdas meets with his mother.   By its art direction especially set design have overly influenced Bhansali’s films especially the shish mahal set of “Payer Kiya to Darna Kiya” with “Deewani Mastani” in Bhansali’s Bajirao Mastani [2015] are common in their styles, moods and textures. Even the tradition of Indian melodramatic subplots of two counter female characters confronting with each other in a dance and music sequences are an establishment in Bhansali’s movie such as Anarkali & Bahar’s musical confrontation of “Teri Mehfil Me...

The only thing I can say about Abrar Alvi’s Sahib Bibi Aur Gholum [1962] based on Bimal Mitra’s eponymous Bengali novel is that I am almost addicted to Mina Kumari’s bold & beautiful acting. The first sequences are so much flat in positive nature but the following sequences with dark shades made this character dynamic & versatile. I don’t judge a character on its moral nuances because they are the representation of a time and things are all around us like these characters’ variations.   I have been a fan of Abrar Alvi’s screenplays & dialogues in collaboration with great Guru Dutt’s Pyaasa [1957], Kagaz Ke Phool [1959] & Chaudhvin Ka Chand [1960], though I think they might be greatly influenced and improvised by Guru Dutt himself. But Alvi’s directorial debut is as brilliant as his screenplays. The costume & makeup of Meena Kumari in Sahib Bibi Aur Gholam had a huge influence and inspiration for Aishwarya Rai in Bhansali's Devdas (2002). Even the druken mood and...

Watching Kagaz Ke Phool [1959] immediately after Pyaasa [1957] is a roller-coaster experience. While Pyaasa’s Bijoy dedicates himself to his artistic journey leaving every precious thing in his life, Kagaz Ke Phool’s Suresh surrenders himself to every destructive thing in his life leaving his artistic expedition.  It seems they originated from the same source of creative passion then branches out to the different channels. Thus, Pyassa ends with the beginning of the future path with the hope of a new life and Kagaz ke Phool ends with the ending of the present path with the despair of death.   I have found some semblance of Suresh’s contour of his passionate life for arts and compact intricacy of his private and professional life in Guru’s Kagaz Ke Phool [1959] with Alamgir Kabir’s Lenin in Rupali Saikate [1979]. The same vibes I have noticed between Bijoy from Guru’s Pyassa [1957] & Lenin from Kabir’s Surjya Kannya [1975]. Even the years of the theatrical releases unin...

The opening scene of Pyaasa (1957) where Bijoy (Guru Dutt) laying on the grasses and observing the playfulness of nature is just as mindful as a flying butterfly or the floating clouds. The extra close-up shots are masterful and as elegant & detailed as the impressionist paintings. I think the sequence where Gulabo (Waheeda Rehman) lures Bijoy to her Kotha (whorehouse) singing a song with a tune of his lyrics (Shayari Ka dhun) and he stalks after her through the surrealistic alleys of the city is nothing but a subtle experience of cinematic visuals. One needs a gifted artistic sensibilities of or longstanding adoration and cultivation over narratives & visuals to touch such marvelous milestones. Guru Dutt is one of the raw and rare auteurs following the tradition of Charlie Chaplin, Tarkovsky, Bimal Roy, Alamgir Kabir & so on and on. Pyaasa [1957] Guru Dutt Hindi, India

দেবদাস উপন্যাসের শেষ সংলাপ " তারপর পার্বতী চুপ করিয়া রহিলো " যেমন করুন রসের তরঙ্গে মনকে ভারাক্রান্ত করে তোলে। তেমনি বিমল রায়ের [১৯৫৫] সুচিত্রা সেন ও সঞ্চয় লীলা বানসালির [২০০২] ঐশ্বরিয়া রাই যখন মহল থেকে এক বুক হাহাকার নিয়ে দেবদাসের লাশ দেখতে সকল মোহ মায়া পিছনে ফেলে ছুটে যায়। এই করুন ও বেদনার রঙেমাখা দৃশ্যখানি আমার মনে এক দীর্ঘশ্বাস সূষ্টি করে। চোখের পাতা ভারী হয়ে উঠে। মুখ দিয়ে এক আহ ধ্বনি অস্ফুট স্বরে বেজে উঠে। সাহিত্যকে সরাসরি চিত্রায়িত না করলেও সিনেমা দুটি তার নিজস্ব শিল্পসৈান্দর্যে ভরপুর। স্বীয় শিল্পমূল্য তৈরি হয়ছে। ভাবলেই আনন্দ হয় দুটি মাধ্যমই মানুষের নিজস্ব সৃষ্টি। শর ৎ চন্দ্রর গল্পের চলচ্চিত্রায়ন অপেক্ষাকৃতভাবে অধিক সহজ ও আকষর্নীয় কারণ গল্পে অধিক সৃষ্টিশীর স্পেস ফাঁকা থাকে। ঘটনাকে এমনভাবে কাঠমোবদ্ধ করা হয়। বর্ননা ও ভাষা এমন ভাবে বিন্যাস্ত থাকে। কিছু কাহিনি পড়ে অনেক না বলা গল্প মনে ভেসে উঠে যে ভাবলে মনে হয়, আরে এটাতো ব্লাঙ্ক স্পেস বা লাইনস বিটুইন বলা আছে কিন্তু বলা নাই। শুধু একটা আবছায়া একটা পাতলা ভাব থেকে যায়। আর ঠিক এই সুযোগ বা সামব্ভ্যতাকে কাজে লাগিয়ে সিন...

  সাহিত্যের কাহিনিকে যখন সিনেমায় রপান্তরিত করা হয়। তখন স্বাভাবিকভাবেই সিনেমাটিক স্বারসত্তা ও  আকারের থেকে পাঠক ও দর্শক উভয়েরই দৃষ্টি থাকে সাহিত্যর কাঠামো ও নির্যাস কি সঠিকভাবে বজায় রাখা হয়েছে কিনা। কিন্তু আমার মনে হয় সাহিত্যর কাহানি যেমন কল্পনা ও শব্দের দ্বারা সৃষ্টি হয়। তেমনি সিনেমা প্রযুক্তি ও চিত্রের সীমানায় বন্দী। তারপর আছে মূলধন ও মুনাফা অর্জনের স্বতস্ফূর্ত ও বাড়তি আকাঙ্ক্ষা। তাই বইয়ের পাতাকে হুবুহু থিয়েটারের পর্দায় সুপারইমপোজ করা বা এর প্রত্যাশা করা আমার কাছে সমীচীন মনে হয় না। তবে কেউ যদি সফলভাবে করতে পারে তাকে তো আলাদা অভিনন্দন দিতেই পারি।   শর ৎচন্দ্রর পরিণীতা  [ ১৯১৪] অবলম্বনে বেশ কয়েকটি সিনেমা আজ অবদি তৈরি হয়েছে। তার মধ্যে বিমল রায়ের পরিণীতা [১৯৫৩] অনেকটা মূলের কাছাকাছি ছিল। তবে মীনাকুমারি ও অশোক কুমারের চেহেরা গল্পের তরুনী ললিতা ও যুবক শেখরের কাল্পনিক অবয়বের সাথে কেমন যেন অমিল ঠেকলো। কিন্তু অভিনয় ছিল যর্থাথরূপে পরিপক্ক। পরবর্তীতে অজয় করের পরিণীতা [১৯৬৯] ছবিতে মৈৗসুমী চ্যাটার্জি ও সৈৗমিত্র চ্যাটার্জিকে অধিক অল্পবয়সী ও অভিনয়ের জড়তায় পূর্ণ বলে মনে হলো। আ...