Essay On Bengali Cinema

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Immediately after independence and partition in 1947, a group of young intellectuals in Calcutta, Satyajit Ray and Chidananda Das Gupta among them, founded the Calcutta Film Society and set off the film society movement in India which has gone down in history for its role in fostering public taste for an alternative realist and meaningful cinema. Around this time, one event had a significant impact on the efforts of these well-meaning young men of the film society. Legendary French film-maker Jean Renoir came to Calcutta to shoot his film The River. Some film society activists like Bansi Chandragupta (later renowned as Satyajit Ray’s art director) joined Renoir as technicians while Ray, Chidananda Das Gupta and Subrata Mitra (Ray’s cinematographer in his early classics) watched the maestro at work, picking up practical aspects of film-making which were to be applied to the great benefit of Bengali cinema over the next couple of decades, which were truly the golden years of Bengali cinema.

Cinema of Bengal: A Historical Narrative (Part II) --
The Golden Era: The 1950s and 1960s
The next two decades witnessed Bengali cinema at its best, with a never before coming together of exceptional directors, actors and technicians, a willingness to experiment with forms, techniques and
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Rituparno made his first film Hirer Angti in 1992 and dominated Bengali cinema until his death in 2013, winning numerous national awards for films like Unishe April, Dahan and Utsab. Aparna Sen made her directorial debut in 1981 with the internationally lauded 36 Chowringhee Lane, which looked at the lives of Anglo-Indians living in Calcutta. Her later films have also been celebrated: Paromitar Ek Din, Mr and Mrs Iyer, 15 Park Avenue, The Japanese Wife, Goynar Baksho, etc. Gautam Ghose is best known for award-winning films like Dakhal, Paar, Padma Nadir Majhi and Abar

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