Archive for the ‘Soumitro Chattopadhyay’ Category

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UTTARON (Broken Journey) is a film based on a story and screenplay by Satyajit Ray, and directed by his son Sandip Ray. The film follows a Calcutta based doctor (Soumitro Chattopadhyay) who is successful treating the well-heeled of society. His teenage daughter is shown leading a reckless life giving rise to suspicion of being a drug addict.

The doc embarks on a journey to Jamshedpur to deliver a talk on ADVANCES OF MEDICAL SCIENCES IN LAST TWO DECADES in a Conference. En route his car breaks down in a remote area & he sees a man lying unconsciously in the field. The doc tries to lend a helping hand. What follows is a discovery of reality about lack of health-care facilities (dependence on witch doctor) and abysmal condition (lack of electricity) in the village. This leads to an awakening in the doctor & the realization of the futility & elitism of conferences when basic health care facilities elude the majority of the population.

The supporting cast includes Subalakshmi Munshi, Sadhu Meher, Subhendu Chatterjee, Lily Chakraborty and others.

Rating: 4.4 out of 5

On Ray’s b’day, a brief note on JOYBABA FELUNATH ……

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I read some Feluda stories in my childhood. Since then I haven’t ventured towards the book of the ace sleuth written by Ray that have endeared him to millions across the globe. I have seen several films of the detective though, two directed by Satyajit Ray himself, and quite a few directed by his son Sandip Ray.

Among the multiplicity of themes that Ray explored in his films and in his writings, one often finds a thematic recurrence interspersed among his works. The core theme in JOYBABA FELUNATH – about a thriving business involving smuggling of heritage art objects from India to the West was also seen in his book KAILASHE KELENKARI, which has been made into a film by Sandip Ray. The penchant of Ray to showcase rare skills such as jugglery (Phatikchand) is again seen in this film in the spine-chilling act of a skilled marksman aiming at humans – it was filmed on ‘Jatayu.’

JOYBABA ..  is an engaging, suspenseful film from the master filmmaker. The film has the Hindu holy city of Benaras as the backdrop. Apart from a fine performance by Soumitro Chatterjee in the role of Feluda, the film was elevated several notches by the terrific performance of Utpal Dutta as Maganlal Meghraj – rarely has Utpal Dutta looked so menacing as a villain, his act in Bollywood films playing the evil man was mostly comical. The pivotal child character in the film, endearing called Captain Spark, brought out the child that used to reside in Ray who was enchanted by magic, mysterious occurrences & other aspects of the supernatural, besides his love of adventure.

Rating; 4 out of 5

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KAGAZER NOUKA is a topical film that portrays the contemporary reality of a corruption ridden society. Through the character of a freedom fighter (Victor Bannerjee), a Gandhian with strong idealistic values the film mirrors the decadence and frustration facing the elderly who had sacrificed everything to liberate the Nation. In that respect, the film echoes Buddhadeb Dasgupta’s TAHADER KATHA. Otherwise, it is a very different film from TK and revolves around the nefarious chit-fund business that rocked West Bengal and brought about its disrepute.

The versatile Soumitro Chattopadhyay in the role of an evil businessman controlling the chit-fund empire & a childhood buddy of the protagonist freedom fighter is competent as usual. The others in the cast includes Bidita Bag, Anusya Mazumdar, Rajesh Sharma and others. Victor B reprises the role of an Angry old man again after LATHI and act with aplomb. The film is directed by Partha Pratim Joardar.

The film was severely criticized by some critics, but somehow I liked the subject matter and the unfolding of events and don’t attest the critics viewpoint who gave it a rating of 1, or 1.5 out of 5 to this film.

Rating; 3.5 out of 5

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PODDOKKEP highlights the loneliness faced by the elderly in our so-called modern society under transition from conservative values to newer liberal ones. The story is credited to the director Suman Ghosh (Nobel Chor, Kadambari) himself.
The film comprises of three acts: Act 1 is named SHASANKHA & MEGHA, Act 2 is TRISHA & Act 3 is titled THE FINALE.
Shasankha (Soumitro Chatterjee) is an elderly man living with his daughter Megha (Nandita Das) who works in a corporate office and an elderly spinster woman (Sabitri Chaterjee) – a relative of theirs. Soumitro has lost his wife around three years back in an accident. The lives of the protagonist delineates the conflict that exist between the new (daughter Nandita) and the old(dad Soumitro) through incidents about the kind of calendar hangings fit for walls of the living room (a rather cutesy scene this) or the Tagore fixation of Bengalis
Nandita: “Why’re Bengalis obsessed with Rabindranath Tagore? When you elevate a human being to the level of God, doesn’t it imply stagnancy of intellectualism?”
Soumitro: “He is timeless, just like Shakespeare”
Through course of interaction between the daughter and the father, we are given hints about the leftist leanings of Soumitro. When the daughter mentions of having watched a good film GOODBYE LENIN on collapse of Communism, the father questioned as to whether his daughter was mocking him.
A couple (Tota Roy Choudhury & June Malliya) has returned from America and is a neighbor of the father-daughter duo. The US returned couple has a 7 year old daughter Trisha. A strong bond develops between Soumitro and Trisha. Megha is in love with a Muslim colleague of hers, looks for opportunity and goes on a two-day visit with her paramour to Bangalore. When Soumitro makes a call to her when she was in bed with the guy, a male voice response informs the father of the relationship.
The film explores a gamut of issues – flight of professionals from the City of Joy to places like America and the Silicon Valley of India, the pangs of separation for the elderly and the challenge to adapt to liberal values in vogue, apprehension of forging alliances across religious divide. The sequence where Soumitro is shown playing with Trisha during a picnic and collapsing is reminiscent of the sequence of Marlon Brando as Don Corleone, succumbing while playing with his grandchild in THE GODFATHER.
The film has quite a few poetic shots capturing the locales of Kolkata and its neighborhood with great finesse.
Rating: 4 out of 5

 

STREE features the two titans of Bangla cinema in a complex tale of unrequited love and trust, and frightening consequences of leading a life of debauchery. At some level, it echoes the Tagore story NOSHTO NEER (made into CHARULATA by Satyajit Ray)  where the heroine Mrinmoyee (Arati Bhattacharjee) resembles Charulata in that she is married to an aristocratic household and a hard-drinking husband (Uttam Kumar) who has no time for her. This becomes the pretext for the amorous relationship to flower with her ex-lover Sitapati (Soumitro Chattopadhyay) when they accidently meet once again.  At another level, the film is a sort of SAHEB, BIWI & GHULAM, the powerful Bimal Mitra story about feudal extravagance and decadence.

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Towards the end, when Soumitro finally walks out of the house, he looks back once in a sort of homage to the concluding scene in Mrinal Sen’s AKASH KUSUM. There’re several wonderful songs (‘Tomader konta asol konta nokol tomra nijey jano na … & others), fine performances by the lead cast (Soumitro, Uttam, Arati) & the supporting cast (Tarun Kumar, Subrata Chatterjee, Jahar Roy).

All in all, quite an absorbing fare directed by Salil Dutta.

Rating: 3.8 out of 5

PONKHIRAJ narrates the tale of three struggling friends – Sankar (Soumitro Chattopadhyay), Robi (Samit Bhanja) & Sunil (Santu Mukherjee). They run a garage – International Motor works in an area infested by evil persons like Mota Ghosh (Utpal Dutt) and others who are involved in a racket that steal and deal in cars.

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The film echoes influences of several Bengali films – from Tapan Sinha’s APANJAN to Ritwik Ghatak’s AJANTRIK to the much later Sandip Ray film UTTARON based on a Satyajit Ray story about the inability of the weaker section of society to purchase expensive medicines.
It is a sheer pleasure to watch the two greats of Bengali cinema, Soumitro Chattopadhyay and Uttam Kumar, in top form in the film ably supported by the strong cast of Utpal Dutt, Samit Bhanja, Santu Mukhopadhyay, Tarun Kumar and others. There’s Chinmoy Roy for comic relief.
The film mirrors the relentless fight that ensues between the evil and the righteous. When Soumitro says “Ami struggle korte chai, ami criminal hote chai na…” you feel the genuineness of the utterance. Robi is a gifted singer and rescues small child from unscrupulous employers. There’re moments of love and tenderness involving the protagonist with fine songs pictured effectively. Issues of child labor and need of education for such children are highlighted.
There’s murder and intrigue and much else in this watchable mainstream Bengali film. The end provides the director’s comment on his film – “Ei osamajik manush gulo ke amra jeno grina na kori” (We should not hate these unsocial elements of society). The film was directed by Pijush Bose.
Rating: 3.6 out of 5

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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