Archive for the ‘Rituparna Sengupta’ Category


DHRISTIKONE – A woman (Rituparna Sengupta) who loses her husband (Kaushik Sen) in a mysterious car accident hires a married lawyer (Praenjit Chaterjee). An adulterous affair ensue … there is intrigue in the plot at multiple levels – in the case the lawyer is fighting for his client and the relationship he gets drawn into. The wife (Churni Ganguly) gradually gets to know about the transgression of her lawyer husband. The other characters like the brother of the deceased (Kaushik Ganguly) , wheel-chair bound (he was in the same car with his brother which met with an accident), and his maid (Dolon Roy) have intrigue written all over the narrative.

The film touches upon issues of familial love and infedility, human greed and the resultant consequences & an irrational need to cling on to the departed. The end is satisfying containing an interesting twist in the tale. Well-directed by Kaushik Ganguly.

Rating: 4 out of 5



A couple falls in love, gets married and thereafter separates. They meet quite unexpectedly fifteen years later on a train journey where the man (Prasenjit)’s second wife (Aparajita Auddy) befriends the former spouse (Rituparna Sengupta). A group of singers (Anindyo Chattopadhyay, Surojit, Anupam Roy), an elderly couple (Soumitro Chattopadhyay, Sabitri Chattopadhyay) & a newlywed couple on their honeymoon are also on this train bound for Kolkata from Mumbai.
The situation look somewhat implausible though the film remains immensely watchable. A highlight would certainly be that of Soumitro Chattopadhyay reciting Tagore’s poem HATATH DEKHA. A hilarious sequence is Sabitri Chattopadhyay’s attempt at speaking Hindi laced in heavy Bengali. In a TV show on Zee Bangla the Bengali director Prabhat Roy said “The technical qualities of PRAKTHAN is of a very high standard.” In the same TV show the actors who acted in the film revealed that the renowned art director Nitish Roy created such an authentic set that it looked like exactly like a real train.
The production work of the film was done entirely in Kolkata and use of drones were made of for the first time in Bengali cinema for high angle shots of landmarks of Kolkata. The supporting cast includes Manali De and others.

The film has been directed by the duo Siboprasad Mukhopadhyay – Nandita Roy.
Rating: 3.5 out f 5

Image result for mrs sen full movie

‘Mrs. SEN’ is a complex tale about infidelity and familial relationship. A woman Anuradha (Rituparna Sengupta) discovers her husband (Rohit Roy) was cheating on her and has a second wife Sohini (Harshita Bhatt) and an eight year old boy after he meets with a fatal accident. Gradually a bond develops between the two wives of the deceased. In the meanwhile, the boy befriends Anuradha,  and the wheel chair bound Sohini too becomes seriously ill and passes away…

The film highlights the vagaries of our existence when one finds out the unpleasant truth about a loved one, or when elderly parents have to bear the loss of their child, or when someone is burdened with the responsibility of bringing up a child resulting from the covert operation of their better half.

As usual, Rituparna is brilliant in the role of the central protagonist. The film is directed by Agnidev Chatterjee and features Biplab Chaterjee, Anusya Mazumdar, Sankar Chakraborty in convincing supporting roles. The character of Subashish Mukhopadhyay as the autistic brother of Sohini appeared overdone (he could have taken a leaf  out of Dustin Hoffman’s performance in RAINMAN).

Rating; 3.8 out of 5


Atmiyo Swajan (1998) - Bengali Movie Watch Online

ATMIYOSWAJAN marks a high in the career of director Raja Sen. The film deals with the inability of idealistic parents (Soumitro Chattopadhyay & Supriya Choudhury) to cope with shifting values of the next generation seen through the unfolding of events in the lives of their children. Except for the idealistic eldest son (Dipankar Dey) the other two sons (youngest played by Sabyasachi Chakraborty) & two daughters (Rituparna Sengupta and Shakuntala Barua) with their spouses (Chaiti Ghoshal, Tapas Pal) have been the elderly duo’s (parents) reason to worry about.
The various chain of events build up the angst to such a level that they contemplate undergoing ‘Euthanesia’ (Soumitro tells his friend that in 1983 the well-known writer Arthur Koestler underwent Euthanesia ) and thereafter suicide by consuming an overdose of sleeping pills.
The director (or is it the writer?) opines that women are better at handling stress in the face of crisis, and barring a tragedy the film ends on a positive note ….
Like Ray’s SHAKHA PROSAKHA the film focuses on corruption and an all round decay. The strong cast delivers terrific performances. Especially Sabyasachi Chakraborty as the hard-drinking son (Ami kono din bhabi ni je ei bhabe tomar ghar e dukhbo – he tells his father upon entering his room in an inebriated state) is brilliant.
Rating: 3.9 out of 5


The prisoner’s reformist tale has attracted filmmakers since V. Shantaram’s DO AANKHEN BARA HAATH (1957).  This film revolves on that same theme. When the wife of a public prosecutor (Rituparna Sengupta)  thinks of staging Tagore’s VALMIKI PRATIBHA using inmates of a prison, one could be sure there will be spanner in the works. As  one might easily guess, inspite of the hurdles such a film ought to end on a pleasant note. The director duo, Sibaprasad Mukherjee and Nandita Roy doesn’t disappoint on this count.

RS essays a powerful role and this is another feather in her cap. Kharaj Mukherjee, Bratya Basu and Deb Shankar Halder act in supporting roles.

Interestingly Tagore had written a story MUKTODHARA wherein he advocated to inculcate a scientific temper in the midst of irrational beliefs. Were the directors also questioning our widely held beliefs that criminals are beyond reform, accusing us of being irrational? As a counterpoint, can we also not say that the directors are being romantic in their assessment, even when there are instances of criminals turning over a new leaf …


“You’re never too old to set another goal or to dream a new dream” – C.S.Lewis

The dream of the aged protagonist of the film is to travel around the globe, see the Nile in Egypt and the midnight sun in Norway amongst them…

The film raises some questions about the traditional roles of husbands and wives from time immemorial in Bengali society against the winds of changes taking place. Modern times requires both husband and wife to be independent and not chained in their responsibilities and commitments while working towards making a family with kids and grand-children work.  That seems to be the driving motive when the owner of a publishing house (Soumitro Chatterjee) announces his intention to be divorced from his wife of 49 years(Swatilekha Sengupta) in front of her and other family members. He claims he wants to experience his unfulfilled ambition of seeing places in his twilight years.

In some respect it is similar to the Mrinal Sen film EK DIN ACHANAK where the protagonist became dissatisfied with the demands of the family members and leaves for an unknown destination. Here no such things happen. What transpires is the deep reflection among the family members (daughters and their husbands quite similar to EK DIN ACHANAK) about the sudden decision of the patriarch. Some of the sequences are quite touching. Especially the one where the son (Sankar Chakraborty) breaks down and tells his father that all along he had idolised him and now he is thoroughly confused.

The Rituparna Sengupta character as the fiery daughter of the patriarch is a bit under-developed. Why was she in an extra-marital relationship and why suddenly she changes her mind to return to the family fold is not detailed…

The supporting cast includes Rituparna Sengupta, Aparajita Auddy, Kharaj Mukherjee and others. The film is directed by Siboprasad Mukherjee.

Rating: 3.8 out of 5

PATH (2003)

Posted: November 8, 2015 in Bengali films, Rituparna Sengupta

Biplab amader moto lokedar jonno daay book bhora hahakar aar sunnoto  (Revolution brings untold miseries for the family members of the revolutionary) – The protagonist father’s says in a sequence. This essentially sums up the message being conveyed through this film.

This violent, political film shows the meaningless of revolutionary movements which attracts youths and eventually affects their lives and that of their families. The nexus of street hoodlums, police and the evil politicians has become a nightmare for the common citizen.  This social reality is reflected in this film which is strong on blood and gore. The principal characters are the newcomer hero, the heroine Rituparna Sengupta, Mamata Shankar as a social worker, Victor Bannerjee as a revolutionary turned evil politician, Rajesh Srivastava as a corrupt Police officer, Rajatava Dutta and Ramaprasad Banik also as politicians.

Rating: 3.2 out of 5

It is based on a story by Indrashish Halder. It basically depicts how the goons are able to terrorise and exploit the common villagers. Revolving around the village priest (Soumitro Chaterjee), his wife (Sandhya Roy) & their three daughters (Shatabdi Roy, Rituparna Sengupta and Koel Mullick) & their adversities, this Raja Sen directed film unfolds in the style of a thriller, but is actually a work in social documentation.


Six years after she was raped by Ratan Samanta (Biplab Chattopadhyay), Rituparna Sengupta the second daughter returns to the village to seek revenge and bring Ratan to book. The unfolding of the narrative is able to sustain interest throughout and leads towards a chilling climax. The languid pace of the film and the probing interactions between the central characters as well as the sequences between the three sisters is laced with both charm and heartache – the elder daughter Shatabdi has turned slightly insane after the death of her husband and the subsequent ouster from the home of her husband thereafter, and the youngest Koel Mullick is the only remaining daughter with the possibility of a proper married life.


The only weakness in the film, in my view, is that of the character of Rituparna Sengupta, who was rescued by a social worker after her traumatic experiences & started working for a living, returns as very influential (with lots of cash for example while apparently not working in anything that is dishonest) in just six years (two of which she had spent with her lecherous uncle Deepankar De). Soumitra Chatterjee & Rituparna Sengupta act brilliantly, while Shatabdi Roy and Koel Mullick give good support. Others in the cast include Rituparno’s ex-lover (Kaushik Sen) who has turned into a drug addict.

Rating: 3.8 out of 5

Dahan is directed by Rituparno Ghosh from his own screenplay. It is based on a  true incident.

The gist: Romita Choudhury (Rituparno Sengupta) is the wife of Palash Choudhury ( Abhishek Chaterji) .These newly-weds meets with a tragic incident. One day, while they were returning late in the evening ( around 9 p.m) they are heckled by a group of five ruffians at Tollygunj Metro Station. After knocking out Palash, these goons tried to rape Romita. A few people who witnessed the incident slipped away cowardly, and none dared to stop the molesters. Jhinuk ( Indrani Halder), a young woman who was just passing by in a autorickshaw on this rainy night when the incident was taking place comes to the rescue of Romita. Only due to Jhinuk’s courage, Romita escaped from being brutally raped. Jhinuk advises Romita to report the matter to the police and lodge an FIR.

The film does echo Tapan Sinha’s ADALAT O EKTI MEY featuring Tanuja, but Rituparno’s film has sufficient originality and finer points to make it a thought-provoking and significant work. The director explores how the two female characters i.e Romita and Jhinuk deal with their surrounding relatives and friends in the aftermath of this incident.

Newspaper coverage of the incident brings fame to Jhinuk and her relationship with her boyfiend takes a new turn in its wake. When the molesters are arrested by the police, it is discovered that the perpetrators of the crime are offspring of powerful men. Does Romita with the help of Jhinuk succeed in bringing the culprits to book? The many supporting characters like Romita’s rich dad ( Subhendu Chaterji ), her in-laws and her husband, Jhinuk’s parents (Pradip Mukherji and Shakuntala Barua) & grandma (Suchitra Mitra),  her fiance and her brother does well with wonderful camoes.

Overall, the director has skilfully handled the myriad characters and managed to churn out an absorbing work. The realistic ending adds to its charm.

Rating: 4.2 out of 5


Paromitar Ek Din was written and directed by Aparna Sen. The film had a successful run in the theatres when it was released. The strength of the film is the wonderful perfomances by all its actors, the novelty in the story-telling style and a good plot.

The gist: The film opens with a sequence of Paromita ( Rituparna Sengupta ) at the shrad ceremony of Sanoka ( Aparna Sen). The story unfolds using a flashback technique. Paromita gets married to Sanoka’s son Bhiru. Bhiru is a foul-mouthed, hard-drinking man. Besides them, Sanoka’s family consists of a mentally retarded daughter Khuku ( Sohini Halder ), her hubby ( Dulal Lahiri ), a couple of daughters and their family. Paromita adjusts to her new family quite well, but things take a turn for the worse when Paromita gives birth to a handicapped child Bablu. Her husband began pointing fingers of accusation towards her.

The film oscillates frequently between the past and the present mainly through the recollections of Paromita. Paromita soons endears herself to her family members. Mother-in-law Sanoka ( Aparna Sen ) also develops a particular liking for Paromita as does Khuku. The director beautifully brings out the hardships and the idiosyncracies of the handicapped through the characters of Khuku and Bablu and deserves kudos for her realistic, insightful depiction of such retarded characters. The fissures that such abnormal people can cause in an otherwise apparently normal family has been highlighted. Veteran actor Soumitra Chaterji plays the role of Moni Mama, ex-lover of Sanoka who couldn’t marry her because of  his cagey and his tight-lipped nature. Sanoka’s love for Moni-mama was an open secret to all family members. No one, however, raised a hue and cry over it.

Bablu is sent to a spastic school for the handicapped. Paromita falls in love with a filmmaker Raju Srivastav who was making a documentary on the handicapped and also used footage of Bablu in his film. Inspite of Sanoka’s pleadings, Paaromita divorces her first hubby Bhiru. And then she marries Raju Srivastav. Rajiv also successfully turns Paromita into a working woman and she began making use of her acquired degree in Mass Communication from Javadpur University.

For Paromita, her second marriage proved lucky. She also achieved some degree of success in her professional life. Ever after her divorce, Paromita couldn’t sever ties completely with Sanoka. In fact, during her last days Paromita looks after her needs with great affection and dedication.

The film ends as Paromita emerges out of the shrad ceremony of Sanoka where her presence was much ridiculed by gossip mongers in the family and their social circles. A tinge of optimism with a hint of Paromita bearing a normal child again provides the climax.

Aparna Sen, Rituparna Sengupta and Sohini Halder delivers terrific perfomances. A restrained Soumitra Chaterji is also memorable. Sumitra Mukherjee does a cameo. The only thing that jarrs in this otherwise flawless work is the depiction of a mentally retarded Khuku  singing soulful Rabindrasangeet numbers with such clarity on numerous occasions. Even though the director tells us that Khuku slipped into insanity gradually in her teenage years and wasn’t afflicted with the ailment since her birth, so what?

Overall, a great film from the director of 36 Chowringhee Lane.

Rating: 4.4 out of 5