Adaptation of the famous A. J. Cronin work, Beyond This Place. Hindi film based on this same novel was Dev Anand's Kala Pani with Madhubala and Nalini Jayawant.
https://m.youtube.com/watch?v=uUKG0xYPLBc
https://m.youtube.com/watch?v=uUKG0xYPLBc
Tuesday, February 26, 2019
Anindita - অনিন্দিতা - Shubhendu Chatterji, Moushumi Chatterjee
One hadn't heard of this film, and came across it while going through Ravindra Sangeet, since this has one of the most mysterious, unmatched poems thereof.
The film itself surprises from the beginning, not unlike the maverick Moushumi Chatterji, the talented beauty who could do such complex roles with such ease, and had no ambition whatsoever.
This aspect of hers coupled with the ambitious competition deprived the audience of some far better possible performances, since the roles went to those that had gone after a career with a single minded competitive stride. Madam Souzatska comes to mind.
Still, there were a few, such as Mahananda in Hindi, based on a Marathi story about temple serving in Konkan, and this one. The shades of human nature and follies, the silent strength if the central character who is deprived of everything except in name, the assumptions of everyone else regarding thrir rights and powers, and her ability to flow through it all like a bubbling brook that yet can cut through stone, is all very impressive.
In one aspect, one might say the chief root of the theme in that if that factor had been different the story would be completely different, this film is very evocative of the very famous Chokher Bali - both stories begin, so to say, with a beautiful young woman of impressive intelligence and some learning (but not enough to make a living), in circumstances of dependence or almost dire poverty, suffer as a consequence of the refusal from the young man of wealth and more whom the proposal brought by his elders to marry her, only because he'stoo full of himself - he and she are, in fact, well matched, and subsequently when they do meet he falls head over heels in love with her, apart from the guilt that plagues him about being cause of ruining her life, since her misfortunes are chiefly due to his refusal to marry her and no real equally secure alternatives.
In this one, unlike in Chokher Bali, she has a living husband who is too sick to ever have been a husband yet, and so unlike in the other story she really isn't free to marry. Chokher Bali was written when a Hindu widow was just about being legally prevented from being burnt on her husband's funeral pyre, although the law wasnt as universally implemented successfully yet, and widow remarriage was a discussion that was throwing society in turmoil, with few women having yet been remarried. This film was several decades later, at a point of time when divorces were neither unheard of nor common, and the storyis set in a rural village surrounded by forests with urban life almost another planet. People do travel from cities to village, but they have to confirm, not disturb, not without consequences.
One of course wishes she had found her rights in the wealthy home she was denied due to the young man's caprice in refusing to marry her when the proposal was made, and his subsequent going after her to make it up to her with his determination to marry her if only she woukd agree, but perhaps it would be too easy a forgiveness for him, and an encouragement to the presumptions re the male's role of rescuing the poor, unfortunate, damsel in distress.
Still, it does seem like an end catering to the prejudices where a woman married only in name cannot decide to leave and marry someone else, because she's branded for life if not more, and making it her choice does not change that any more than calling a face cover a woman's choice.
https://m.youtube.com/watch?v=MIGaa7GSDfw
The film itself surprises from the beginning, not unlike the maverick Moushumi Chatterji, the talented beauty who could do such complex roles with such ease, and had no ambition whatsoever.
This aspect of hers coupled with the ambitious competition deprived the audience of some far better possible performances, since the roles went to those that had gone after a career with a single minded competitive stride. Madam Souzatska comes to mind.
Still, there were a few, such as Mahananda in Hindi, based on a Marathi story about temple serving in Konkan, and this one. The shades of human nature and follies, the silent strength if the central character who is deprived of everything except in name, the assumptions of everyone else regarding thrir rights and powers, and her ability to flow through it all like a bubbling brook that yet can cut through stone, is all very impressive.
In one aspect, one might say the chief root of the theme in that if that factor had been different the story would be completely different, this film is very evocative of the very famous Chokher Bali - both stories begin, so to say, with a beautiful young woman of impressive intelligence and some learning (but not enough to make a living), in circumstances of dependence or almost dire poverty, suffer as a consequence of the refusal from the young man of wealth and more whom the proposal brought by his elders to marry her, only because he'stoo full of himself - he and she are, in fact, well matched, and subsequently when they do meet he falls head over heels in love with her, apart from the guilt that plagues him about being cause of ruining her life, since her misfortunes are chiefly due to his refusal to marry her and no real equally secure alternatives.
In this one, unlike in Chokher Bali, she has a living husband who is too sick to ever have been a husband yet, and so unlike in the other story she really isn't free to marry. Chokher Bali was written when a Hindu widow was just about being legally prevented from being burnt on her husband's funeral pyre, although the law wasnt as universally implemented successfully yet, and widow remarriage was a discussion that was throwing society in turmoil, with few women having yet been remarried. This film was several decades later, at a point of time when divorces were neither unheard of nor common, and the storyis set in a rural village surrounded by forests with urban life almost another planet. People do travel from cities to village, but they have to confirm, not disturb, not without consequences.
One of course wishes she had found her rights in the wealthy home she was denied due to the young man's caprice in refusing to marry her when the proposal was made, and his subsequent going after her to make it up to her with his determination to marry her if only she woukd agree, but perhaps it would be too easy a forgiveness for him, and an encouragement to the presumptions re the male's role of rescuing the poor, unfortunate, damsel in distress.
Still, it does seem like an end catering to the prejudices where a woman married only in name cannot decide to leave and marry someone else, because she's branded for life if not more, and making it her choice does not change that any more than calling a face cover a woman's choice.
https://m.youtube.com/watch?v=MIGaa7GSDfw
Chowringhee - Uttam Kumar, Shubhendu Chatterji, Anjana Bhowmik
This film one saw decades post having read the works of this author, and one viewing simply isn't enough.
It reveals itself over time, and then suddenly one sees a lot more than the obvious tales presented in forefront of the whole. In that respect it is a work much superior to the obvious comparison, Hotel by Arthur Hailey and the film based on it. In fact that is where it relates to another epic film although it isn't obvious, the three part saga Mera Naam Joker of RK.
The soul of Chowringhee is unveiled, unexpectedly, in a song sung in a rare lone moment up in his room adjoint to the vast rooftop terrace, by the concierge and receptionist, in fact manager of most affairs of the hotel, played by Uttam Kumar, as the protagonist who is the author played by Shubhendu Chatterji is listening -
বড়ো একা লাগে এই আঁধারে...
মেঘের ও খেলা আকাশো পারে....
সারটি দিনের কাজে কী জানি কী ভেবে আমি...
কেমনে ছিলেম ভুলে এই বেদনকে..
কে যে বলে দেবে এই আমাকে...
মেঘের ও খেলা আকাশো পারে..
এই তো ভালো ভাবি একা ভুলে থাকা..
থাকনা পরে পিছে এই পিছু ডাকা..
চেনা আচেনা তে যাকনা মিশে...
মেঘেরও খেলা আকসো পারে...
বড়ো একা লাগে এই আঁধারে...
মেঘেরও খেলা আকাশো পারে...
This song is perhaps the only clue until this moment in the film, about any personal element of the character played in Chowrigee by Uttam Kumar - he plays the perfect manager, receptionist, concierge, who knows everything about the guests and takes care of them, at all hours, regardless of their status, much less any personal consideration for himself. And herein the connection to the RK epic, where the protagonist is a clown trying to make everyone laugh, with his travails hidden from them brought out onky for the film audience. But Chowringhee has this factor much more subtle, in that the concierge Uttam Kumar helping everyone and happy to do so, always with a wide smile and ease, is what is seen throughout the film - his loneliness is barely felt even during the song and is only in the verses of the song.
Wonder if the other one, Shubhendu Bandopadhyay, is related to Mukherjee clan in films in Mumbai - his resemblance to a young Joy Mukherjee is far too strong.
https://m.youtube.com/watch?v=q9YJZciCI7s
It reveals itself over time, and then suddenly one sees a lot more than the obvious tales presented in forefront of the whole. In that respect it is a work much superior to the obvious comparison, Hotel by Arthur Hailey and the film based on it. In fact that is where it relates to another epic film although it isn't obvious, the three part saga Mera Naam Joker of RK.
The soul of Chowringhee is unveiled, unexpectedly, in a song sung in a rare lone moment up in his room adjoint to the vast rooftop terrace, by the concierge and receptionist, in fact manager of most affairs of the hotel, played by Uttam Kumar, as the protagonist who is the author played by Shubhendu Chatterji is listening -
বড়ো একা লাগে এই আঁধারে...
মেঘের ও খেলা আকাশো পারে....
সারটি দিনের কাজে কী জানি কী ভেবে আমি...
কেমনে ছিলেম ভুলে এই বেদনকে..
কে যে বলে দেবে এই আমাকে...
মেঘের ও খেলা আকাশো পারে..
এই তো ভালো ভাবি একা ভুলে থাকা..
থাকনা পরে পিছে এই পিছু ডাকা..
চেনা আচেনা তে যাকনা মিশে...
মেঘেরও খেলা আকসো পারে...
বড়ো একা লাগে এই আঁধারে...
মেঘেরও খেলা আকাশো পারে...
This song is perhaps the only clue until this moment in the film, about any personal element of the character played in Chowrigee by Uttam Kumar - he plays the perfect manager, receptionist, concierge, who knows everything about the guests and takes care of them, at all hours, regardless of their status, much less any personal consideration for himself. And herein the connection to the RK epic, where the protagonist is a clown trying to make everyone laugh, with his travails hidden from them brought out onky for the film audience. But Chowringhee has this factor much more subtle, in that the concierge Uttam Kumar helping everyone and happy to do so, always with a wide smile and ease, is what is seen throughout the film - his loneliness is barely felt even during the song and is only in the verses of the song.
Wonder if the other one, Shubhendu Bandopadhyay, is related to Mukherjee clan in films in Mumbai - his resemblance to a young Joy Mukherjee is far too strong.
https://m.youtube.com/watch?v=q9YJZciCI7s
Lalpathore - লাল পাথর - Uttam, Supriya
Good seeing the original, long after the Hindi remake. Supriya Chowdhury excels in this, although this was one of the roles where Hema Malini playing the same role in the remake had put her whole being on the line and come out well despite the presence of the superlative Rakhee in the role of the beautiful wife - not easy, that!
https://m.youtube.com/watch?v=FJFVYCNThpc
https://m.youtube.com/watch?v=FJFVYCNThpc
Uttarayan - Uttam Kumar, Sabitri Chaterjee, Supriya Chowdhury
This film is set in WWII eastern sector, with beginning in Singapore and later part in Calcutta. As one is amazed at the wide canvas of the story watching this, suddenly at close to midway this connects with the superlative Navketan film Hum Dono, and then on it's a matter of differences between the two.
Where this one is a tad more realistic is in the locations it's shot in Calcutta, and also the very real recognition early on albeit not immediately at sight, by the wife about the identical looking guy being in reality a stranger.
But then on the awful part is about her fate being sealed - as a traditional woman she has no option, in her own consciousness at any rate, but to give up her life due to her being unable to escape pretending that the stranger is her husband - her blind mother in law won't sustain the shock of having lost the son to death.
Whereas, in Navketan's Hum Dono, the wife has a weak heart and the stranger, Dev Anand, is forced by her doctor to continue to let them all think he is the husband - and the happy ending of the husband actually returning alive, after all, is very satisfactory in that film.
Here, one is completely left in shock and horror as the main couple discovers that the widow has fooled them and given up,her life to the holy river she bathed in every day. One wishes they had given more thought to saving her life - surely there was some way!
https://m.youtube.com/watch?v=XFhFjNMpjfY
Where this one is a tad more realistic is in the locations it's shot in Calcutta, and also the very real recognition early on albeit not immediately at sight, by the wife about the identical looking guy being in reality a stranger.
But then on the awful part is about her fate being sealed - as a traditional woman she has no option, in her own consciousness at any rate, but to give up her life due to her being unable to escape pretending that the stranger is her husband - her blind mother in law won't sustain the shock of having lost the son to death.
Whereas, in Navketan's Hum Dono, the wife has a weak heart and the stranger, Dev Anand, is forced by her doctor to continue to let them all think he is the husband - and the happy ending of the husband actually returning alive, after all, is very satisfactory in that film.
Here, one is completely left in shock and horror as the main couple discovers that the widow has fooled them and given up,her life to the holy river she bathed in every day. One wishes they had given more thought to saving her life - surely there was some way!
https://m.youtube.com/watch?v=XFhFjNMpjfY
Khokababur Pratyabartan - খোকাবাবুর প্রত্যাবর্তন - Uttam Kumar,
Heart breaking film, where a young boy devotes his life so very completely to the well being and protection of his companion the son of the master, and never outgrows it to allow any life of his own for himself!
https://m.youtube.com/watch?v=czdcLFPbRqg
Mahanagar 1963 - মহানগর ১৯৬৩ - The Big City 1963 - Madhavi Mukherjee, Anil Chatterjee, Jaya Bhaduri
Opinions might differ on this, and most viewers would vote for Pather Panchali while quite a sizeable number would say Charulata, and one recalls reading one critic or fan writing about their top favourite being Jalsaghar, but this is the most beautiful film he made ever by Ray.
The very capable Madhavi Mukherjee is a delight, but it isn't a sole diamond shining in lesser surrounding, she fits in very well with the rest - all of the very able artists, the beautifully scripted story and screenplay, and filming.
And the most delightful discovery is the young teen sister in law, who one recalls falling in love with at first viewing of the film when it was fresh, and not realising till much later that this was the beloved icon of Indian womanhood in Hindi films of her time, Jaya Bhaduri.
The very real dilemma of a changing world where women went from being secure and homebound to being not only educated but also wage earning members of the families they went out to support with the wages the family very much needed, is shown very succinctly here. In urban India it was necessity in most cases, much like it is in rural agrarian societies everywhere, that brought these changes, unlike in US where the largest catalysts were WWII and the subsequent divorce wave during sixties that did so far more than any other factor.
Every aspect, every facet of the question is dealt with - the husband who needs her to work since his salary alone isn't enough, the mother in law who is upset to begin with at being alone in charge of household but comes to appreciate the efforts and benefits, the child that cries, the father in law who takes far longer to appreciate the reality and the fact that the daughter in law is a good, caring person despite going out to work and earning, the colleagues and their problems, the boss who appreciates her but let's go of a hard working colleague for reasons other than her work, the factories closing and workers' strike that forces the couple to change their decision about her resignation, the changes in her appearance that unsettle the husband seriously, the finale - everything is perfect, beautifully executed.
Responding to a comment below the original yt video about Ray being not awarded at Oscars except the lifetime achievement award, by
PRASHANT KUMAR
"St. Thelonious the Monk even Hitchcock never won any academy award (apart from that lifetime achievement crap). they wouldn't have even given Ray lifetime achievement award if Scorcese along with Spielberg wouldn't have convinced the jewry and campaigned for him. Oscar is all about politics."
Small correction, jury, not Jewry. Despite the propaganda by church and nazis to the contrary Jews are not responsible for negatives of history, merely convenient target to be blamed ever since Roman empire occupied, crucified and exiled them from their homeland.
https://m.youtube.com/watch?v=LT41pIZnjP0
The very capable Madhavi Mukherjee is a delight, but it isn't a sole diamond shining in lesser surrounding, she fits in very well with the rest - all of the very able artists, the beautifully scripted story and screenplay, and filming.
And the most delightful discovery is the young teen sister in law, who one recalls falling in love with at first viewing of the film when it was fresh, and not realising till much later that this was the beloved icon of Indian womanhood in Hindi films of her time, Jaya Bhaduri.
The very real dilemma of a changing world where women went from being secure and homebound to being not only educated but also wage earning members of the families they went out to support with the wages the family very much needed, is shown very succinctly here. In urban India it was necessity in most cases, much like it is in rural agrarian societies everywhere, that brought these changes, unlike in US where the largest catalysts were WWII and the subsequent divorce wave during sixties that did so far more than any other factor.
Every aspect, every facet of the question is dealt with - the husband who needs her to work since his salary alone isn't enough, the mother in law who is upset to begin with at being alone in charge of household but comes to appreciate the efforts and benefits, the child that cries, the father in law who takes far longer to appreciate the reality and the fact that the daughter in law is a good, caring person despite going out to work and earning, the colleagues and their problems, the boss who appreciates her but let's go of a hard working colleague for reasons other than her work, the factories closing and workers' strike that forces the couple to change their decision about her resignation, the changes in her appearance that unsettle the husband seriously, the finale - everything is perfect, beautifully executed.
Responding to a comment below the original yt video about Ray being not awarded at Oscars except the lifetime achievement award, by
PRASHANT KUMAR
"St. Thelonious the Monk even Hitchcock never won any academy award (apart from that lifetime achievement crap). they wouldn't have even given Ray lifetime achievement award if Scorcese along with Spielberg wouldn't have convinced the jewry and campaigned for him. Oscar is all about politics."
Small correction, jury, not Jewry. Despite the propaganda by church and nazis to the contrary Jews are not responsible for negatives of history, merely convenient target to be blamed ever since Roman empire occupied, crucified and exiled them from their homeland.
https://m.youtube.com/watch?v=LT41pIZnjP0
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