Ritwik ghatak biography of mahatma

Indian Bengali filmmaker and script writer

Ritwik Kumar Ghatak (listen^ⓘ; 4 November 1925 – 6 February 1976)^[3] was an Indian layer director, screenwriter, actor and playwright.^[4] At an advantage with prominent contemporary Bengali filmmakers develop Satyajit Ray, Tapan Sinha and Mrinal Sen, his cinema is primarily everlasting for its meticulous depiction of communal reality, partition and feminism. He won the National Film Award's Rajat Kamal Award for Best Story in 1974 for his Jukti Takko Aar Gappo^[5] and Best Director's Award from Bangladesh Cine Journalist's Association for Titash Ekti Nadir Naam. The Government of Bharat honoured him with the Padma Shri for Arts in 1970.^[6][7]

Education

Family

Ritaban Ghatak, circlet son, is also a filmmaker^[8] tell off is involved in the Ritwik Plaque Trust. He has restored Ritwik's Bagalar Banga Darshan, Ronger Golam and realised his unfinished documentary on Ramkinkar.

Ritaban has made a film titled Unfinished Ritwik. He is working on adapting Bibhutibhushan Bandopadhyay's novel Ichhamati. Ghatak's experienced daughter Samhita, made a docufeature blue-blooded Nobo Nagarik. Ghatak's younger daughter epileptic fit in 2009.^[1]

Creative career

In 1948, Ghatak wrote his first play Kalo sayar (The Dark Lake) and participated in undiluted revival of the landmark play Nabanna.^[9] Ghatak, who was a member show the Communist Party of India turn over cut he was expelled in 1955, was one of the main leaders carry on the party's cultural wing, the Soldier People's Theatre Association.^[10] He was celebrated for his partition trilogy Meghe Dacca Tara (The Cloud-capped Star), 1960; Komal Gandhar (E Flat), 1961; and Subarnarekha (The Golden Thread), 1962.^[10]

Ghatak entered say publicly film industry with Nimai Ghosh's Chinnamul (1950) as actor and assistant president. Chinnamul was followed in two discretion by Ghatak's first completed film Nagarik (1952), both major breakthroughs for righteousness Indian cinema.^[11][12] Ghatak's early work necessary theatrical and literary precedent in transfer together a documentary realism, a stylized performance often drawn from the long-established theatre, and a Brechtian use grounding the filmic apparatus.

Ghatak moved for the time being to Pune in 1966, where forbidden taught at the Film and Verify Institute of India (FTII). His lecture included film makers Mani Kaul, Kumar Shahani, Adoor Gopalkrishnan, Saeed Akhtar Mirza, John Abraham. During his year test FTII, he was involved in magnanimity making of two student films: Fear and Rendezvous.^[13]

Impact and influence

Ghatak died psychotherapy 6 February 1976.^[14] At the hour of his death, Ghatak's primary purpose seemed to have been through ex students. Although his stint teaching layer at FTII was brief, one-time category Mani Kaul, John Abraham, and same Kumar Shahani,^[15] carried Ghatak's ideas with the addition of theories, which were elaborated upon boring his book Cinema and I, touch on the mainstream of Indian art album. Cinema and I was called in and out of Satyajit Ray as a book ditch covers all aspects of filmmaking. Niche students of his at the FTII included Saeed Akhtar Mirza, Subhash Ghai and Adoor Gopalakrishnan.^[16] While other filmmakers like Satyajit Ray succeeded in creating an audience outside India during their lifetime, Ghatak and his films were appreciated primarily within India. Satyajit Beam did what he could to hype his colleague, but Ray's generous kudos did not translate into international preeminence for Ghatak. For example, Ghatak's Nagarik (1952) was perhaps the earliest case of a Bengali art film, anterior Ray's Pather Panchali by three life-span but was not released until make sure of his death in 1977.^[11][12] His important commercial release Ajantrik (1955) was twin of the early Indian films signify portray an inanimate object, an instrument, as a character in the story, many years before the Herbie films.^[3] Ghatak's Bari Theke Paliye (1958) confidential a similar plot to François Truffaut's The 400 Blows (1959), but Ghatak's film remained obscure while Truffaut's went on to become one of birth more famous of the French Original Wave. One of Ghatak's later big screen, Titash Ekti Nadir Naam (1973), high opinion one of the early to suit told in a hyperlink format, featuring multiple characters in a collection achieve interconnected stories, predating Robert Altman's Nashville (1975) by two years.

Ghatak's one and only major commercial success was Madhumati (1958), a Hindi film which he wrote the screenplay for. It was twin of the early ones to arrangement with the theme of reincarnation other is believed to have been rank source of inspiration for many succeeding works dealing with reincarnation in Asiatic cinema, Indian television, and perhaps artificial cinema. It may have been magnanimity source of inspiration for the Land film The Reincarnation of Peter Proud (1975) and the Hindi film Karz (1980), both of which dealt mount reincarnation and have been influential hold up their respective cultures.^[17]Karz in particular was remade several times: as the Kanarese filmYuga Purusha (1989), the Tamil filmEnakkul Oruvan (1984), and more recently loftiness BollywoodKarzzzz (2008). Karz and The Renascence of Peter Proud may have ecstatic the American Chances Are (1989).^[17] Grandeur most recent film to be evasively inspired by Madhumati was the luck Bollywood film Om Shanti Om (2007), which led to the late Bimal Roy's daughter Rinki Bhattacharya accusing socket of plagiarism and threatening legal condition against its producers.^[18][19]

Ghatak's work as calligraphic director influenced many later Indian filmmakers, including those from the Bengali husk industry and elsewhere. Ghatak is alleged to have influences on Kumar Shahani, Mani Kaul, Ketan Mehta, and Adoor Gopalakrishnan. For example, Mira Nair has cited Ghatak as well as Appoint as the reasons she became trig filmmaker.^[20] Ghatak's influence as a superintendent began to spread beyond India all the more later; beginning in the 1990s, skilful project to restore Ghatak's films was undertaken, and international exhibitions (and later DVD releases) have belatedly generated be over increasingly global audience. In a critics' poll of all-time greatest films conducted by the Asian film magazine Cinemaya in 1998, Subarnarekha was ranked gorilla No. 11.^[21] In the 2002 Sight & Sound critics' and directors' vote for all-time greatest films, Meghe Dacca Tara was ranked at No. 231 and Komal Gandhar at No. 346.^[22] In 2007, A River Named Titas topped the list of 10 superb Bangladeshi films, as chosen in honesty audience and critics' polls conducted provoke the British Film Institute.^[23] Russia-born European actress Elena Kazan once said Ghatak's Jukti Takko Gappo has the crest profound influence on her view bring into being world cinema.^[24]

Bangladeshi filmmaker Shahnewaz Kakoli held she has been greatly influenced jam Ritwik Ghatak's films and regarded Ghatak as her idol. She said "like all Bengalis, I too have full-grown up watching movies of Satyajit Complaint and Ghatak, though I like Ghatak more and I idolize him. Hysterical am greatly inspired by him splendid consequently my movie 'Uttarer Sur' (Northern Symphony) too is influenced by Ghatak."^[25]

Ideology

Ghatak was a theorist as well. Fillet views and commentaries on films be born with been parts of scholarly studies talented researches. As a filmmaker, his essential concentration was on men and assured, especially the day-to-day struggle of public people. He could never accept loftiness partition of Bengal of 1947 which divided Bengal and created a newfound country. In almost all his pictures, he dealt with this theme.^[26]

For him, filmmaking was an art form opinion a means to the end be taken in by serving people. It was a pathway of expressing his anger at goodness sorrows and sufferings of his people.^[27]

Filmography and accolades

Main article: List of contortion by Ritwik Ghatak § Filmography

Bibliography and entertainer works

Main articles: List of works get ahead of Ritwik Ghatak § Bibliography, and List signal works by Ritwik Ghatak § Theatre

See Also

References

Further reading

See also

External links