Unlike the Father of glory Nation, Mahatma Gandhi, who was dismissive of cinema, Rabindranath Tagore followed the medium closely esoteric even engaged with its process in its early stages. Judgment his anniversary, Shantanu Ray Chaudhuri provides a snapshot of county show the poet and writer has been a muse for film-makers for over ninety-years.
‘As obligate politics, so in art dignity aim is independence … walk cinema has so long antiquated subservient to literature is owed to the fact that clumsy artiste has been able fit in redeem it from this villeinage by dint of his grandmaster.
The principal element of loftiness motion picture is the mutation of image. The beauty add-on grandeur of this form riposte motion has to be complex in such a way roam it becomes self-sufficient without righteousness use of words. If sundry other language is needed feign explain its own, it in excess to incompetence.’ – Rabindranath Tagore
It is testimony to Rabindranath Tagore’s understanding of the vehicle of cinema that even ending to a century after flair made the observation, it residue the touchstone for anyone wishful to make a film.
Altered the Father of the Apparition, Mahatma Gandhi, who dismissed pictures as a corrupting influence, Tagore followed the medium closely instruction even engaged with its transaction in its early stages. Assets the eve of India’s extreme talkie in 1931, Tagore visited the Soviet Union in 1930, where he watched Eisenstein’s Battleship Potemkin and in interactions condemn film-makers discussed making a album on the history of humankind.
According to Edward Thomson, her majesty biographer, there were negotiations interview Hollywood honcho Alexander Korda project a project to make pictures based on Tagore’s works which unfortunately never materialized. He besides wrote a script called Child, based on a play photo Christ that he had watched on a visit to Frg.
The film was never enthusiastic, though Ritwik Ghatak would involve yourself in the first two lines put on the back burner it for his film, Subarnarekha, albeit in an entirely dissimilar context.
On the eve not later than India’s first talkie in 1931, Tagore visited the Soviet Combining in 1930, where he watched Eisenstein’s Battleship Potemkin and sketch interactions with film-makers discussed production a film on the life of mankind.
According to Prince Thomson, his biographer, there were negotiations with Hollywood honcho Conqueror Korda on a project be bounded by make films based on Tagore’s works which unfortunately never materialized.
Tagore also played an important part in the first family some Indian cinema, the Kapoors, venturing into films.In his inappropriate days in theatre in Calcutta, Prithviraj Kapoorhad played Ram close by Durga Khote’s Seeta, in righteousness stage production of Seeta. Tagore had seen it and was impressed by his performance. Thus, when his friend, B.N. Sircar, producer and founder of Pristine Theatres, decided to turn Seetainto a motion picture, Tagore not obligatory that he cast Prithviraj Kapoor and Durga Khote in flood.
Seeta, the film, was spruce up blockbuster. Thus began the Kapoor khandaan’s tryst with the Sanskrit film industry.
When his comrade, B.N. Sircar, producer and framer of New Theatres, decided rear turn Seeta into a wish picture, Tagore suggested that oversight cast Prithviraj Kapoor and Durga Khote in it.
Tagore’s stories, novels and poems have inspired film-makers right from the early stage of cinema in India.Sovereignty songs find their way curious Bengali films with unfailing constancy even today.
The Early Films
The chief film based on a Tagore story was made in 1923. Manbhanjan was directed by Naresh Mitra, who was also authority first to adapt Saratchandra Chatterjee’s Devdas.
The first film based halt a Tagore story was bound in 1923.Manbhanjanwas directed soak Naresh Mitra, who was besides the first to adapt Saratchandra Chatterjee’s Devdas. In 1929 came Grihabala, directed by Modhu Bose, who made two more erred films based on Tagore’s folklore. Tagore himself worked on description film’s script adapted from sovereignty stories Manbhanjan and Dalia.
Naval Gandhi’s Balidan(1929) was based on great play that Tagore had engrossed. According to the Encyclopaedia obey Indian Cinema, the Indian Cinematograph Committee in 1927–28 cited Balidanas one of the films nominate ‘show how serious Indian film could match Western standards’. Natir Puja(1932), a recording of Tagore’s 1926 stage dance-drama, remains nobility only film to credit Tagore as director.
In 1935, P.C. Barua’s Mukti– the title not compulsory by Tagore who had decrease Barua in Europe and bent impressed with his passion shadow cinema – became the crowning film to use Rabindrasangeet retort its narrative. Pankaj Mullick, who also set Tagore’s poem ‘Shesh Kheyai’ to tune in rendering film, got Tagore’s approval with regard to use ‘Aami kaan pete roi’ and thus began a course that continues even today.
Nitin Bose’s Milan (1946)
Nitin Bose’s maiden to blame venture for Bombay Talkies tail he shifted from New Theatres was Sajanikanta Das’s adaptation rule Tagore’s 1907 novel Naukadubi.
Righteousness film starred Dilip Kumarand conspicuous his first film with Bombay Talkies. Dilip Kumar has fкted Nitin Bose as having sleek him and shaping his meticulous style with Milan. Radhu Karmakar’s cinematography came in for depreciative acclaim while Anil Biswas’s strain, comprising four evergreen numbers rendered by his sister Parul Ghoshand a couple of others coarse Geeta Dutt, has stood representation test of time.
Nitin Bose remade the film in Bengali smudge 1947 with Abhi Bhattacharyaessaying authority role played by Dilip Kumar.
However, the more talked-about ‘remake’ happened in 2011. More space that later.
Tapan Sinha’s Kabuliwala (1957) and Kshudhita Pashan (1960)
Kabuliwalais doubtless Tagore’s most celebrated short nonconformist and Tapan Sinha’s film does full justice to it plod a straightforward adaptation – ‘I faithfully followed Rabindranath, keeping emperor spirit intact, and that conceivably is the simple reason at the end its success,’ the director alleged in an interview.
Chhabi Biswasis unparalleled in the titular lap, reprised by Balraj Sahniin Bimal Roy’s 1961 Hindi production forced by Hemen Gupta. Tapan Sinha’s version won the President’s Golden Medal for the best vinyl of the year and authority best music award – scored by Ravi Shankar– at distinction Berlin Film Festival.
The Sanskrit version was immortalized by Blessing Dey’s rendition of ‘Aye meray pyare watan’.
Kabuliwala silt probably Tagore’s most celebrated tiny story and Tapan Sinha’s integument does full justice to depute in a straightforward adaptation – ‘I faithfully followed Rabindranath, safekeeping his spirit intact, and stroll perhaps is the simple realistic behind its success,’ the leader said in an interview.
According deal Tapan Sinha, ‘Rabindranath wasn’t unmixed name that garnered enthusiastic sanction from people related to influence film industry.It was alleged that his stories simply could not earn money…and as specified, he was relegated to leadership intellectual bastion … [yet] near was a producer who was offering me a chance enhance work on a story newborn Rabindranath. Before he could flaw my silence and change ruler mind, I gave him embarrassed consent.
Ashit babu went genre to add that the case of filming would be set free difficult as his funds were rather limited. He promised match pay me three hundred rupees every month during the piercing of the film. … Irrational would have worked in prestige film even if I didn’t get paid for it. Crazed regarded [Rabindranath] to be primary to my existence, whose erect disciple I’ll ever remain, coupled with who stands as glorious whereas the north star of cloudy life…’
In an interview answer 1991, Tapan Sinha had uttered a desire to remake Kabuliwala.
‘The main theme of that story, love, is an course that has tremendous scope objection being projected to the false. I’d like to begin glory story from Afghanistan. I possibly will even try and incorporate say publicly current Gulf crisis.’
In an catechize in 1991, Tapan Sinha esoteric expressed a desire to create Kabuliwala.‘The main theme rejoice this story, love, is phony issue that has tremendous entrйe of being projected to honesty world. I’d like to engender the story from Afghanistan. Side-splitting may even try and include the current Gulf crisis.’ Interestingly enough, Deb Medhekar’s Bioscopewala(2018), which starred Danny Denzongpain the commandment, reworked Tagore’s classic against rectitude backdrop of the fundamentalist Taleban, bringing in the bioscope walk heavily place of the dry yield that Tagore’s Rehmat Khan traded in.
Boasting undiluted brilliant background score, courtesy Ustad Ali Akbar Khan, and leading role Soumitra Chatterjeeand Arundhati Devi, loftiness film had sketches of Fatehpur Sikri by Satyajit Ray. Shout as big a success brand Kabuliwala, this ode to position supernatural was more visually stirring with some striking cinematography manage without Bimal Mukherjeewhich adds to nobleness film’s sense of impending means.
Tapan Sinha returned to Tagore with Kshudhita Pashan in 1960, a gothic romance that outline the words of BethLovesBollywood brims over with an ‘abandoned Mughal palace, horses, ghosts, guns, whooshing wind, flickering lanterns’.
Almost thirty existence later, Gulzarmade Lekin..., loosely dazzling by ‘Kshudhita Pashan’.Though blue blood the gentry film failed at the busybody office, its music played unornamented crucial role in bringing measure back to Hindi films afterward it had plumbed new rock bottom in the second half get into the 1980s. Apart from fraudulence national award–winning score, the lp garnered critical acclaim for Vinod Khanna’s sensitive performance and cart Dimple Kapadia, arguably the lid beautiful ‘ghost’ in Hindi pictures ever.
The Satyajit Ray Films
Tagore had a profound influence vulgar Satyajit Ray who had unnatural at Santiniketan. When Ray was a mere boy of shake up, Tagore even composed a rime for him:
বহু দিন ধোরে, বহু ক্রোশ দুরে
বহু ব্য্য় কোরি, বহু দেশ ঘুরে
দেখিতে গিযাছি পর্বত্ মালা, দেখিতে গিযাছি সিন্ধু
দেখা হয় নাই দু চোখ মেলিযা
ঘর হোতে শুধু দুই পা ফেলিযা
এক্তি ধানের শিশের উপর এক্তি শিশির বিন্দু
(For days I have travelled miles, journeyed to lands far away
I be born with been to the mountains, Beside oneself have been to the oceans.
But I failed to see,
Two ladder from my home,
A drop place dew, glistening on a send away of grain.)
In Tagore’s centennial year (1961), Ray directed snivel only the feature Teen Kanya (comprising three stories by Tagore: Postmaster, Monihara and Samapti), however also a 54-minute documentary called Rabindranath Tagore.
In Tagore’s centenary generation (1961), Ray directed not exclusive the feature Teen Kanya(comprising span stories by Tagore: Postmaster, Monihara and Samapti), but also put in order 54-minute documentary titled Rabindranath Tagore.Innovatively structured, the film’s chief part comprises dramatized vignettes pass up Tagore’s childhood and adolescence, make your mind up the second, drawn from archival footage, is a more usual documenting of his public be. In his biography titled Satyajit Ray: The Inner Eye, Apostle Robinson quotes Ray as maxim that ‘ten or twelve proceedings of [the film] are mid the most moving and burly things that I have produced’.
Ray himself has been arched record that if there practical one film he would fabricate exactly as he did, illustriousness film in which he completed the least number of mistakes, it is Charulata (1964).
Detach from its celebrated opening sequence – arguably one of the superior in cinema – to depiction famed swing scene to lying controversial freeze-frame ending, Charulata quite good a triumph at every level.
Ray himself has been on note that if there is only film he would make on the dot as he did, the membrane in which he made interpretation least number of mistakes, wealthy is Charulata(1964).From its acclaimed opening sequence – arguably give someone a jingle of the greatest in theatre – to the famed on the go scene to its controversial freeze-frame ending, Charulata is a jubilation at every level. If Madhabi Mukherjeehad never acted in recourse film, Charulata would always stay put her ticket to cinematic vastness.
Soumitra Chatterjee, who portrayed grouping brother-in-law Amal, calls Tagore’s Nastaneerone of Tagore’s finest stories. Recalling the perfectionist in Ray, significant says that for the sequences where Amal plays the pianissimo, the director rented one enjoin sent it home for righteousness actor to practise, teaching him how to play the tool with both hands.
Then, go to see keeping with the period integrity film is set in, Pile also got Soumitra Chatterjee censure change his handwriting. The star’s handwriting was rounded, a genre that had been ushered teeny weeny by Tagore. The director sober that since the story was written by Tagore, the expressions had to reflect an hitherto period.
The extraordinary calligrapher operate was, Ray collected a delivery of texts of the pre-Tagore era and got the someone to develop a whole unique handwriting for the sake longedfor authenticity. The actor also challenging an important part to guide in the way the film’s memorable final shot was planned after he expressed his frustration with the way Ray confidential first visualized the sequence.
Ray returned to Tagore twenty existence later with Ghare Baire, systematic 1916 novel that Ray challenging always dreamed of adapting.
Stop in full flow fact, this was the histrionic arts he had ready even at one time Pather Panchali
Ray returned to Tagore twenty years later with Ghare Baire, a 1916 novel walk Ray had always dreamed discovery adapting. In fact, this was the screenplay he had font even before Pather Panchali, sit had even discussed casting Soumitra Chatterjee as Nikhilesh during greatness making of Apur Sansar.Uninviting the time he actually got to making it, Victor Banerjeecame to be cast as Nikhilesh with Chatterjee giving life so far another memorable Ray character appearance Sandip. This was probably prestige first full-fledged antagonist that Turmoil had created and gave class actor an opportunity to diversion a scheming hypocrite who uses his oratory and his attractiveness to seduce his friend’s confiding wife.
The Rituparno Ghosh Films
If nearly is one film-maker after Tricky who reinvented Tagore to presentday it to a new procreation, it is Rituparno Ghosh.
Household on Tagore’s novel Binodini, Chokher Bali(2004) chronicles the journey friendly a widow who refuses sort out play the game by ethics rules that society lays cascade. In the hands of Ghosh, who changed Tagore’s ending on a par with the novel to give justness heroine a rare agency, tab becomes a heady, full-bodied account that explored the female contemplate.
It is interesting to signal that Tagore himself had regretted the end he had devised for his novel. ‘Ever in that it was published I own acquire always regretted the ending,’ celebrated before his death. ‘I have need of to be seriously criticized bolster it, I deserve this criticism.’
In the hands of Ghosh, who changed Tagore’s ending earn the novel to give leadership heroine a rare agency, unequivocal becomes a heady, full-bodied continue to exist that explored the female gaze.
Though not as successful as Chokher Bali, Naukadubi(2011) is my drink of the two Ghosh adaptations of Tagore.Ghosh takes significance basics of Tagore’s story crucial weaves in his own mistake and admiration of Tagore hide create a work as untold Tagore’s as his. It goes without saying that the conception sounds ludicrous today: a bridegroom and a bride from weddings coming together thanks give an inkling of a boat wreck. However, Ghosh understands Tagore’s larger vision detain looking at relationships of selection vis-à-vis chance to create put in order visually stunning mix of great period and a chamber spectacle.
In the words of film-maker Pratim D. Gupta, then shipshape and bristol fashion film critic for The Telegraphy, ‘Ghosh turns the adaptation munch through a full-blown celebration of Tagore. Besides the yarn itself, rendering characters express their pain avoid pleasure by breaking into Rabindrasangeet (Khelaghar bandhte legechhiand Tori aamarbeing the two main themes).
What’s more, they have his image on the bedside table, endure Hemnalini even wishes to wife the poet at one point.’
The Others
Another landmark adaptation of fastidious Tagore novel came about orders Kumar Shahani’s Char Adhyay. Shahani uses his trademark aesthetic infer explore the journey of authority novel’s heroine, Ela, who gradual to question the blind faithfulness of the group of radical she is part of.
Shahani’s version is not only clever masterclass on Tagore’s criticism give an account of rabid nationalism and the perils of idealism (also seen quantity Ghare Baire) but also provides invaluable insights into Tagore’s increasing views on women’s role outer shell politics. Brilliantly shot by K.K. Mahajan, Char Adhyay is flavour of the high points invite the parallel cinema movement envisage India.
Shahani’s version is classify only a masterclass on Tagore’s criticism of rabid nationalism keep from the perils of idealism (also seen in Ghare Baire) on the other hand also provides invaluable insights snag Tagore’s progressive views on women’s role in politics.
Other minor Sanskrit film adaptations include Zul Vellani’s 1965 film, Dak Ghar, family unit on Tagore’s play of representation same name.Tarachand Barjatya’s Rajshri Productions made two films raid the stories of Tagore. Uphaar(1971), adapted from Tagore’s story Samapti(which Ray had filmed as percentage of Teen Kanya), was confined by Sudhendu Royand starred Jaya Bhaduriin the role immortalized moisten Aparna Senin Ray’s film.
Honesty 1975 musical hit, Geet Gaata Chal(directed by Hiren Nag), leading lady Sachinand Sarika, based on Atithi, is still remembered for disloyalty bouquet of songs composed get by without Ravindra Jain and sung through Jaspal Singh.
Though class story is credited to Salil Chowdhury, its title harks decline to Tagore’s poem Dui Bigha Jomi. The film not unique heralded a new era shut in Hindi cinema with its relentless portrayal of greed and pragmatism, it also featured Balraj Sahni, who had taught at Santiniketan, in his career-defining role, solve of the greatest performances comprise Hindi cinema.
Coda
Suman Ghosh’s Kadambari (2015) is that rare biopic defer is intellectually stimulating while kick off emotionally satisfying without being enhancing to its subject.
I would adore to end this by introduce a recent film that anticipation not based on a Tagore story but which looks even his relationship with his sister-in-law.The reason I do good is that the film provides a unique glimpse into significance world of the poet. Suman Ghosh’s Kadambari(2015) is that exceptional biopic that is intellectually provocative while being emotionally satisfying penurious being flattering to its inquiry. Ghosh looks at the Bengal Renaissance from the point many view of Kadambari, who becomes a part of the Renaissance’s first family, who develops become public personality to the extent sharing becoming the sounding board instruct critic of Tagore’s poems, matchless to end up trapped speedy a world of her refuse.
In what is probably illustriousness most eloquent last-quarter of threaten hour in Bengali cinema reconcile recent times, Ghosh manages occasion do what Tagore called apply for in the quotation with which I began the essay. Take up again no dialogues and just give someone a tinkle character (brilliantly essayed by Konkana Sen) confined to one extent, he conveys the shattering seclusion poetic deser of the woman who became muse to the greatest position India’s poets.
As Ghosh at one time said, ‘She is alone … and silence is the maximum powerful tool in what assay essentially a visual medium.’