After making Goynar Baksho (2013) & featuring in Srijit Mukherji‘s Chotushkone (2014),Aparna Sen returns to direction with Arshinagar. Based on William Shakespeare’s Romeo and Juliet,the film is produced by Shree Venkatesh Films. Slated for release on Christmas (December 25th) later this month,the film features Dev and Rittika Sen playing the romantic leads and Jisshu Sengupta as the antagonist.The rest of the star cast includes Waheeda Rehman, Kamaleshwar Mukherjee, Roopa Ganguly,Jaya Seal Ghosh etc. The music is by Debojyoti Mishra while Sirsha Ray is the DOP and Rabi Ranjan Maitra is the editor.Continue reading “Arshinagar: Trailer”
At the end of the day filmmaking I feel is about how well you narrate a story. Srijit Mukherji no doubt knows how to narrate a story. While I was waiting to watch this movie from Sep 26th, the day it released in West Bengal, it finally made it to Bombay this week.Chotushkone (Quadrangle) was marketed as a thriller, but I feel it would be laziness on our part to slot this film in just one genre; it is a quirky film where Srijit clearly wants to have fun and at the same time engage the audience as well.Continue reading “Chotushkone (2014) Bengali Movie Review”
After the critical and commercial success of Jaatishwar which also went on to win 4 National Awards, writer and director Srijit Mukherji returns with his next film, Chotushkone. A film which has been in the news ever since it was announced, Chotushkone was originally supposed to feature Rituparno Ghosh, Anjan Dutt, Aparna Sen and Goutam Ghose. But with Rituparno’s demise and with Anjan Dutt moving out the cast underwent further changes. Finally the film has now been completed and now the film is toplined by Aparna Sen, Goutam Ghose, Parambrata Chatterjee and Chiranjeet Chakraborty. This thriller is produced jointly by Reliance Entertainment and DAG Creative Media, who also produced Jaatishwar. The film has music by Anupam Roy while Sudeep Chatterjee is the DOP and Rabi Ranjan Maitra is the editor.Continue reading “Chotushkone: Trailer”
It is indeed difficult to bring yourself to write a eulogy – especially for a man whom you have not only admired but also emulated. More than anything, it takes time for the information to be a part of your system that someone whom you idealized has passed away, untimely and undeservingly. As I sit down here today write this panegyric, a fanboy in me weeps solemnly at the demise of his master – who held a beacon for many others to pave the way beyond the drudgeries of commerce, into the pristine realms of art.
I was introduced to Rituparno Ghosh when I was barely 8 or 9 years old – when I saw “Unishe April”. The filmmaking bug had not bit me yet, I was not mature for it then, but I distinctly remember savouring the mother-daughter conflict drama and being absolutely mesmerised by the performances. My father walked off in the middle of the movie, calling it “intellectually slow”, but I was hooked on to the conversations between Sarojini (Aparna Sen) and Aditi (Debasree Roy), and the see-saw between their love and hatred, hope and despair, friction and reconciliation. The film ends with Aditi picking up the telephone receiver and saying a stern “Hello” to her boyfriend (played by Prosenjit – in his one among many roles in Ghosh’s films). Frankly, I found the end very abrupt then and I remember asking my mother “Why did it end like that?” She had pursed her lips and expressed absolute lack of cognizance of the implication of the “Hello”. Years later, when I saw the film again, the culmination revealed itself with an astonishing significance – the stern “Hello” comes after an entire day through which Aditi continually cries over the phone, begging her boyfriend to marry her. However, the latter denies it on the grounds that his family objects to Aditi’s mother being a dancer. All this while, till the end, the tears that rolled down Aditi’s eyes were as much as of heartbreak as they were of her ire at her mother’s ignorance of the date the story is set in – 19th April – the death anniversary of Aditi’s father. However, by the end of the film, Aditi and Sarojini reconcile their differences and Aditi’s sternness is only a result of Sarojini’s support. The understanding came with a renewed deference for the man whom I had started revering for his films.
The Apu Trilogy, made up of the films Pather Panchali, Aparajito and Apur Sansar, instantly placed Satyajit Ray and Indian cinema on the world map in the late 1950s. Between them, the three films won seven awards at the Cannes, Berlin and Venice film festivals. Continue reading “100 Years of Indian Cinema : Does Regional Cinema work better Internationally than Bollywood?”
Based on noted Bengali writer Shirshendu Mukhopadhyay‘s novel Goynar Baksho, the film adaptation by the same name is written and directed by Aparna Sen. It’s a tale of 3 generations of women & their changing position in society,seen in relation to a box of jewels, handed down from one generation to the next.Continue reading “Goynar Baksho: Trailer”
Richard Gere once said in an interview, ‘To me, Indian films mean Ray films…’
Well, Richard Gere might not be any great actor to be taken seriously. But then, I am sure, you don’t need anyone else to tell you about the magnificence of the man called Satyajit Ray. Filmmakers across the world including greats like Abbas Kiraostami, Martin Scorcese, Danny Boyle and even Akiro Kurosawa have heaved praises on his work. And the man deserved every bit of that adulation. Alas! My post is not about Satyajit Ray; may be in that case I would have had only positives to talk about. My post here talks about the Bengali Film Industry – of which the maestro, even if huge, only a part. Of course, Ray was not the only great filmmaker Bengal has ever produced, and people from that region have shown a penchant towards the art of filmmaking and storytelling – albeit with some major limitations of their own.Continue reading “Bengali Films -Then & Now…”