Ritwik Ghatak: The master craftsman of world cinema.

Maestro, but he is also a cloud-covered star ...

 At the middle of 2020,when the clutches of globalization and the clutches of capitalist culture continue to make us lonely, frustrated, exhausted and sick, the relevance of the priesthood becomes even stronger.  In fact, as time goes on, we will learn to understand his creation anew.  Understand - not the sigh of tragedy, but the strong conviction of survival is the main melody of all the creations of the priest.  But what a great effort can be seen even today to see and show the whole world of his films as gray, pale by associating them with the life of a priest!  How do we forget the interview where the priest said - "The decline of man attracts me. Because of that I see the speed of life, the health. I believe in the flow of life. Let the characters in my picture scream and let me live. Even in the face of death."  He wants to live - it's not death, it's the triumph of life. "


 Ritwik proudly made his fourth film 'Meghe Dhaka Tara' against all the leaders.  He embraced all kinds of darkness in the light.  And one star burst at the end of the picture.  Gentle its light.  Mild but not dull.
 Released in Calcutta on April 14, 1980, 'Meghe Dhaka Tara' was his first box office success.  According to Ritwik Ghatak in the 1985 annual Chitravikshan, the trilogy is a combination of the three films Meghe Dhaka Tara (1960), Komal Gandhar (1971) and Subarnarekha (1982).

Going somewhere, it seems that the priest wanted to average his audience.  Wanted their tastes to change.  Because?  Because that is what Yuga is demanding.  Faced with destruction, he understood that 'today is not the day to play with flowers'.  You have to understand the reality, you have to recognize it.  You can't cross the side.  Let's hear some words in his statement - "I met a girl with a boy - I am not interested in such a putu putu story. I will hurt you and explain - this story is not fiction.  Try. If you are aware and can understand the protest I have raised, but go out and try to change the reality, then it is successful to take a picture of me. "

Many of us may not know how this movie was planned.  The priest himself said - "The name 'Meghe Dhaka Tara' was given to me.  The original story was published in a magazine called 'Chenamukh'.  There was something in the story that pierced me, so much so that Shakespeare's 'The Cloud Capped Star' came to my mind and I immediately started writing a new screenplay. "  According to Shaktipada Rajguru, the main storyteller of 'Meghe Dhaka Tara' - "I have lived with Ritwik for seven years.  I was with him till ‘Meghe Dhaka Tara’, ‘Kumari Mann’, ‘Komal Gandhar’ and ‘Subarnarekha’.  Later I went to Mumbai for other work to Shakti Samanta.  We had a submission team.  After Komal Gandhar, the team started breaking up. ”

 In this film, Ritvik has experimented a lot with words and melodies.  Southern raga goose sounds and this particular raga-based notation he uses as the background music of the movie.  It is also worth mentioning that Ritwik uses Rabindra Sangeet for the first time in this film.  Apart from this, inevitably, special use of Bangladeshi folk music can be noticed.  In the dialogue, the priest wanted to highlight compassion and suffering.  Despite its super-dramatic nature, its dialogue is an invaluable resource in the Bengali film world.  Overall, this is the second highest grossing movie in the history of Bengali cinema after Pather Panchali, which has been recognized as one of the best classical movies in the country.  Ritwik himself said - "I could not accept the Bengali part at all - I still can not. It is very difficult to change what has happened in history, it is not my job.  That's what gave me so much pain. "

 'Cloud-covered stars' that pain, the spread of that pain.  At the same time, it speaks of an entire nation, but it also contains the personal narrative of the people.  Standing in 2019, we can create our own personal statement by combining our own feelings.  In the face of each of our breakdowns, in the face of catastrophe, some of the special imagery of this film becomes tactile even today.  What could be more successful for a filmmaker?

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