Bimal is a taxi-driver in a small town. His taxi is his only companion and, although very battered, it is the apple of Bimal's eye. The film shows the love of taxi driver Bimal and his pathetic vehicle Jagaddal.
A well-off family is paid an unexpected, and rather unwanted, visit by a man claiming to be the woman's long-lost uncle. The initial suspicion with which they greet the man slowly dissolves... See full summary »
To Ritwik Ghatak film was not merely a form of entertainment, but a weapon, a medium to portray struggle of common men. He was successful neither in his career nor he could he become a good... See full summary »
Set in the contentious 1950s, the film's plot is structured around the rivalry of two radical theatre groups. One is lead by Bhrigu, the other by Shanta. Shanta's niece Anusuya participates in Bhrigu's work to the disapproval of her own group. When the two groups join together for a production, Shanta deliberately sabotages it. Bhrigu and Anusuya both discover they are both refugees separated from their country (Bangladesh) and they fall in love. Eventually Anusuya, scheduled to marry Samar and move to France, decides to stay with Bhrigu. Written by
ritwik ghatak suffers outside india from not being satyajit ray. to most american and british audiences ray is alternative indian cinema just as kurosawa is alternative japanese cinema and the attention to the "universal" appeal of these auteurs' films obscures the pioneering work of many other great film-makers (as well, of course, much of their own work--the ray of "mahanagar" is not the ray of "pather panchali", for instance, or at least not in the same way).
similarly non-indian audiences are not always attuned to the role of music and songs in indian films. in ghatak's cinema (and "komal gandhar" in particular) music is used not just to advance the story-line as in say the great bombay films of guru dutt but formally as well. ghatak intentionally mixed folk and popular art forms in an attempt to create a new form of political expression and this is nowhere as effective as in the most personal of his early films, "komal gandhar" which draws upon his days in the IPTA-- a theater group that included composers such as salil chowdhury whose songs, "obak prithibi" among them, are featured prominently in this film. the impact of these songs is not translatable in subtitles and it is not surprising that non bengali/indian audiences might think of this as just another example of extraneous song and dances numbers inserted into an indian film.
it is a shame that ghatak's films are not widely available in india let alone in the the world outside. but those in the san francisco area should not miss the opportunity to view this and a number of ghatak's other masterpieces starting this very weekend (end of may, 2001).
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