Subarnarekha - A Close Encounter With Ritwik
The topic for today’s edition is
"Subarnarekha" – an immortal creation done by the legendary
filmmaker, Ritwik Ghatak, from Bengal. There are several subtopics that we can
touch upon as we discuss about the film. These include – partition of India,
post-independent chaos, Ritwik's glory and early success at IPTA (the Indian
People’s Theater Association), his fascination for Communism and subsequent
dissatisfaction, his failures, his own society's indifferent attitude towards
his magnanimous talent, his own men betraying him and eventually crushing him
in the most disrespectful way.
As per records, the movie was released in 1965. Right from the onset, the movie takes off with a terrific clip. Two friends Haraprasad and Ishwar want to help a community affected by the terrible aftermath of the partition. Both are talented; however, one is seemingly selfish. One is flamboyant, he protests when the other wants to leave the place to start a fresh remunerative life. The protest from Haraprasad is not directed towards Ishwar, the person, as such. The protest is between two rationales, two ideals and two practicalities. The word "Chhiii.." (roughly meaning “shame”) evoking anguish completes their separation.
Ishwar has a sister, by the name Sita – the same name that summons grief, sadness, loss on one hand and integrity, dignity, grace, splendor on another – and he must also take along a certain Abhiram, an infant coming from lower caste and without a parent. Ishwar decides to leave for a hopefully better life together with these two kids. Ishwar's journey to Paschim or West of Bengal is filled with expectation, hope, optimism, dream – all of which are directed towards starting a new life in the bosom of the river Subarnarekha.
Sita and Abhiram grow up and turn lovers from being just childhood friends. Sita stands firm to marry Abhiram and in fact, absconds with him against her brother's wish. A masterful movie is one that can carry its central theme all throughout without deviating even slightly. All along, Ritwik continues to enthrall his viewers with one dash of sensation or the other. Skillful writing and storytelling encompass various small and breezy acts. The Sita-Abhiram romantic moments, or Ishwar and Sita's mutual adulation on the backdrop of Subarnerekha are moistened by small pieces of lilting Indian Classical music.
Hardship is universal – it is a key element of human life and it is a powerful tool for Ritwik in the movie. Abhiram and Sita cannot really settle down in their new life in Kolkata. Sita's singing talent and the couple's little son are the only highlights of a struggling household. Lonely Ishwar, still earning money thanks to his good relationship with his employer, meets a phantom form of his bête noir, Haraprasad. Here is where Ritwik turns and twists and crunches the audience inflicting deep pains. Estranged association, no clear inference on what is right and what is wrong, ugly face of materialism, the agony of betrayal and extreme pain of separation make Ishwar an inhuman. He goes out to spoil his fortune and his wealth which he accumulated over the years. Money, money and more money – Ishwar loses touch with ground reality. He turns ugly.
The rest is rather indescribable. A sister takes her life in front of her brother instead of serving him with music and maybe something else; she escapes from the eyes of a lecher which is eventually her own brother....................she is Sita. She is dignity personified, she is a widow and a mother and of course a once-darling little sister. Materialism cannot win in her eyes. Ishwar, the God, acknowledges in the end by submitting himself to the little boy of Sita. He is also Ishwar’s last connection left with non-materialism. A journey starts again – this time with the little boy holding the hands of Ishwar and showing him the way to Subarnarekha.
The masterpiece movie from Ritwik Ghatak
As per records, the movie was released in 1965. Right from the onset, the movie takes off with a terrific clip. Two friends Haraprasad and Ishwar want to help a community affected by the terrible aftermath of the partition. Both are talented; however, one is seemingly selfish. One is flamboyant, he protests when the other wants to leave the place to start a fresh remunerative life. The protest from Haraprasad is not directed towards Ishwar, the person, as such. The protest is between two rationales, two ideals and two practicalities. The word "Chhiii.." (roughly meaning “shame”) evoking anguish completes their separation.
Ishwar has a sister, by the name Sita – the same name that summons grief, sadness, loss on one hand and integrity, dignity, grace, splendor on another – and he must also take along a certain Abhiram, an infant coming from lower caste and without a parent. Ishwar decides to leave for a hopefully better life together with these two kids. Ishwar's journey to Paschim or West of Bengal is filled with expectation, hope, optimism, dream – all of which are directed towards starting a new life in the bosom of the river Subarnarekha.
Sita and Abhiram grow up and turn lovers from being just childhood friends. Sita stands firm to marry Abhiram and in fact, absconds with him against her brother's wish. A masterful movie is one that can carry its central theme all throughout without deviating even slightly. All along, Ritwik continues to enthrall his viewers with one dash of sensation or the other. Skillful writing and storytelling encompass various small and breezy acts. The Sita-Abhiram romantic moments, or Ishwar and Sita's mutual adulation on the backdrop of Subarnerekha are moistened by small pieces of lilting Indian Classical music.
Hardship is universal – it is a key element of human life and it is a powerful tool for Ritwik in the movie. Abhiram and Sita cannot really settle down in their new life in Kolkata. Sita's singing talent and the couple's little son are the only highlights of a struggling household. Lonely Ishwar, still earning money thanks to his good relationship with his employer, meets a phantom form of his bête noir, Haraprasad. Here is where Ritwik turns and twists and crunches the audience inflicting deep pains. Estranged association, no clear inference on what is right and what is wrong, ugly face of materialism, the agony of betrayal and extreme pain of separation make Ishwar an inhuman. He goes out to spoil his fortune and his wealth which he accumulated over the years. Money, money and more money – Ishwar loses touch with ground reality. He turns ugly.
The rest is rather indescribable. A sister takes her life in front of her brother instead of serving him with music and maybe something else; she escapes from the eyes of a lecher which is eventually her own brother....................she is Sita. She is dignity personified, she is a widow and a mother and of course a once-darling little sister. Materialism cannot win in her eyes. Ishwar, the God, acknowledges in the end by submitting himself to the little boy of Sita. He is also Ishwar’s last connection left with non-materialism. A journey starts again – this time with the little boy holding the hands of Ishwar and showing him the way to Subarnarekha.
The masterpiece movie from Ritwik Ghatak
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