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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.
While driving his car on a rainy night, Anand's car breaks down, and he goes to seek shelter in a nearby house. He is let into the house by the servant, and he is permitted to stay until ... 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
on the contrary, i would say that it is extremely important to have an idea about how these people behaved, how they expressed themselves and how they reacted to events during that period. i can only distinguish between good and bad films irrespective of their origin. the song (no dance, sorry to say) numbers give the film a theatrical, and at times surreal effect. also, it is very important to note how these particular songs affected the society (they were not made for the film). hriwik made only one film throughout his life. and he made it over and over again, each creating a new vista for the viewer about the epic theme he tried to handle. this film has been remastered and released, but the the improvement is not great. and at the end, i must also add that for many art forms, one must be educated and prepared enough to appreciate the beauty of it. like tarkovsky, like Kurosawa, like hriwik.
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