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Meghe Dhaka Tara (1960)

A selfless young woman (Supriya Choudhury) sacrifices her own happiness for her unappreciative family.

Director:

(as Shri Ritwik Kumar Ghatak)

Writers:

(assistant scenario writer), (scenario) (as Shri Ritwik Kumar Ghatak) | 2 more credits »
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Cast

Credited cast:
Supriya Choudhury ...
Nita
Anil Chatterjee ...
Shankar (as Anil Chattopadhyay)
Gyanesh Mukherjee ...
Banshi Dutta (as Gyanesh Mukhopadhyay)
Bijon Bhattacharya ...
Taran Master
...
Mother
Gita Ghatak ...
Gita
Dwiju Bhawal ...
Mantu
Niranjan Ray ...
Sanat
Rest of cast listed alphabetically:
Satindra Bhattacharya
Jamini Chakraborty
Suresh Chatterjee ...
(as Suresh Chattopadhyay)
Ranen Ray Choudhury ...
Baul singer (as Ranen Chowdhury)
Arati Das
Narayan Dhar
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Storyline

"Meghe Dhaka Tara" tells the tragic story of the beautiful daughter of a middle-class refugee family from East Pakistan, living in the outskirts of Calcutta under modest circumstances. Neeta sacrifices everything for her family, including her personal happiness, her money, and her health, while her achievements are hardly ever recognized by the people around her. Written by meitschi

Plot Summary | Add Synopsis

Genres:

Drama | Musical

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Details

Country:

Language:

Release Date:

14 April 1960 (India)  »

Also Known As:

Hidden Star  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider. See more »

Goofs

When Nita meets her former lover at the tree near the pond (after about 90 minutes), a microphone is visible in the top left corner. See more »

Connections

Followed by Subarnarekha (1965) See more »

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User Reviews

 
Review #1
13 November 2010 | by (India) – See all my reviews

If I have to chose one movie in my life then it would be this. Ultimate cinematic experience would be an under statement as it is more than that. I can think of Ritwik as the Indian answer to Stanley Kubrick. Meghey Dhaka Tara is like Clockwork Orange made by an equally eccentric and obscure genius, whose impact is appreciated much after his death. The contrast is, unlike Kubrick, very few people know about him as the rating shows here where as, it should have been in the cannon of every cinephile around the world. It is the responsibility of those few of us who have watched it, to spread it. I would like to spend some time here discussing what is so special about the movie.

First of all it is a movie that celebrates beauty. The beauty of nature as captured by some of the breath taking shots of trees that I have ever seen in a movie, the beauty in the affection between the brother and sister eating together side by side, or the face of Neeta gleaming under the sun when Sanat arrives or the beauty captured in Neeta's sister in front of the mirror. It also portrays the beauty in people's mind through many side characters like the compassion of the strict shop keeper. Yet, this beauty both in natural and in human spirit is in sharp contrast with the abject poverty and the bleak refugee colony. Nature plays an intricate role in many of his cinemas like Ajantrik and it often highlights the character and gives it also a context, done in the most effective and subtle way.

The second quality of this movie is the usage of classical music so deliberately for mood change. It reminds me of Kubrick. But here it is done in an much more open fashion. It creates a sense of happiness (read beauty) and often there is a sudden inflection or a discontinuity as if to remind the audience the harsh reality. (there is also a piece of great folk song as well).

The third quality of the movie is it's simplicity and honesty to the subject. Here the movie almost attained the quality of a real documentary. The effect of partition on the Bengali people have never been captured so authentically as been done here, the characters so identifiable, the story so representative and the settings so familiar.

The fourth and true to the identity of the genre it belongs to, this movie is a cinematographic excellence. If Kubrick is fascinated with back-motion and checkered pattern, then Ritwik has his play with frames and off center photography. Here each frame tells more than one story and a face is never complete with the surroundings and is part of it, not the center of it. Also there are other aspects of it like there are meaning to be understood by relating the context and what been showed, something Satyajit is very good at, Ritwik great at and been taken to extreme by Mrinal Sen.

The fifth and most touching part of it is the storyline. It is at the end of the day a very human movie. It talks about individual family and individuals in normal relationship in normal acts of life and in normal background. In that way it touches your heart seeing the struggle and the suffering. It does so without being too apparent or getting too sentimental.

The greatness of this movie lies in achieving all the above qualities in one work of art. It appeals to all the senses and linger long in your mind. One viewing is not enough to comprehend it fully like all great movies as there are many things in it that get revealed only after repeated viewing


5 of 7 people found this review helpful.  Was this review helpful to you?

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