To captivate the genius of Rituparno Ghosh within the realms of a few words would be a feat I can never excel in. It has been two years since he passed on. But his works, which will be alive forever, will continue to inspire generation of filmmakers. His demise was a personal loss for all his fans, because his films had a personal appeal. He ushered in a new wave in Bengali cinema and was an extremely gifted writer.
Ritu da’s talent lay in his scene-building and the eye for detail that was evident in every frame of his film. His characters were believable, people we could relate to. The issues highlighted in his films were also mundane, not out of the ordinary. There was an element of straightforwardness in him which reflected in the characters he wrote. There was no veil of pretension.
He had only embarked on a new journey in the filmmaking process – with his quasi-autobiographical Chitrangada – when he left us! The void he has left lies unfilled even now; his shoes are too big for anyone to fill.
Here are five movies by the maverick director which will always be close to my heart:
An adaptation of Agatha Christie’s ‘The Mirror Cracked from Side to Side”, this film is so Bengali at heart that Christie might herself might wonder in her grave if she actually set the original story in England. Rangapishima (Ritu Da’s Miss Murple, played by a brilliant Rakhee Gulzar) is a simple middle-aged widow with extra-ordinary observational skills. Her niece Mallika (Nandita Das) is a journalist who gets embroiled in the murder of an actor. The film which won Sharmila Tagore a National Award deals with intricacies of relationships and complexities of the human mind. Ritu Da’s first “thriller” which can give a lot of mindless, B-grade pot-boilers a run for their money even today.
A film about a joint family that meets for Durga Pujo and skeletons from the past come to haunt them. Starring a galaxy of stars, the film is essentially a bedroom-drama. Despite being dialogue heavy, not once would feel bored. A quintessential Rituparno film, the story deals with sibling-love, ups and downs of conjugal life, dynamics of relationships and the dark secrets of the human mind – all against the backdrop of Durga Puja festivities. The juxtaposition of festivities and sorrows of life only add to the brilliance of the film. Rituparno once again proves that key to making a good film is not extravagance but simplicity.
This is a film which is very close to my heart. A film about a director and his muse, Rituparno tries to deal with the question, given a choice what would we choose? Sophistication or Unsophisticated spontaneity? With a memorable performance by Ananya Chatterjee (which won her the National Award), Ritu Da fulfills his wish of making a film on Noti Binodini. The last scene of the film describes film-making as “capturing fleeting moments in a frame”. Rituparno Ghosh breathed a soul into the frames with Abohoman.
When I watched this movie, I had a major crush on Konkona Sen Sharma. That did not stop me from admiring Prosenjit’s spellbinding performance. For major part of the film, he is bed-ridden, in a hospital or at home. He communicates with his silence. Three stories woven into each other give us an insight into adultery, without being moralistic or preachy even once. The breach of trust, mending bridges and the rejuvenation of ties – all communicated without being judgmental. Black and white filming and almost complete lack of background score is the USP of Dosar.
“Poetry in motion” is the best phrase to use for this beautiful film. Set in the idyllic locales of Darjeeling, Titli is about a teenage girl who has a crush on a popular actor. Fate brings her face to face with the man of her dreams, only to acquaint her with some unpleasant truths from the past. It is a treat to watch Aparna Sen and Konkona play mother and daughter in reel life too. Mithun Chakraborty’s measured acting will make you his fan.
I could go on and on and write a line or two about all 20 films Ritu da made. But now is not the time. Hope you love watching these films. After all, what better way to remember a filmmaker than watching his works?
Durga Pujo is now synonymous with Srijit Mukherjee, just the way Christmas is for Sandip Ray. From Autograph to Chatushkone, the bar has always been set a notch higher. From the complexities of relationships and untamed ambition to the psychological murder mystery, Srijit da has time and again proved his mettle. With Chatushkone, Srijit da has not only outdid Jaatishwar (his best till date) but etched his place in the echelons of Bengali film industry.
Chatushkone is not just a story of who-dun-it. It is a journey of self-realisation, a journey of tying the loose ends of old strings… Former friends come together to relive their old days, some with a desire for vengeance, and some simply to escape the monotony of life. In a way, Chatushkone is a journey of introspection; it is the song of life.
Films within films have been done many times before in Bengali cinema; Rituparno Ghosh was a pioneer. Srijit da has not only given a fitting tribute to his Sir, but also surpassed Rituparno’s way of storytelling through year jump. The four stories, and their colour gradations, stay without even after the credits roll. Then there is the fifth story… an Ace hidden in the pack of King, Queen and Joker…
Music is an integral part of Srijit Mukherjee’s films and Chatushkone does not disappoint. We cannot thank him enough for the immensely talented Lagnajita… celebrating spring in autumn was possible only because of her melodious voice. And Boba Tunnel joins the elite league of life’s anthems after Amake Amar Mawto, Ei Srabon and E Tumi Kemon Tumi…
Even as I pour in my thoughts in this ‘review’ I am dying to scream my lungs out about the stupendous climax (and the anti-climax before that). I will desist myself from doing so. Do not try to guess the ending; even if you do, the twist in the tale will stump you.
Hats off to Parambrata for the heart-wrenching performance in the last 15-odd minutes of the film. The less said about the magnificence of Aparna Sen or Gautam Ghosh the better. The true revelation in the film was undoubtedly Chiranjeet. What a comeback!
The only thorn in this bouquet of roses that will prick you is the track between Anindo and Kaneenica. Their story demanded a proper closure, not the subtle hint left behind by the director for the audience to nibble upon.
All said and done, Chatushkone strikes the perfect balance between a thought-provoking ‘serious’ film and mass appeal. Some films stand out for the craft, some for their actors and some for the message. Chatushkone will be remembered for the style of storytelling.
My Rating: 4/5 stars