Published By: Sougata Dutta

Neo-realism in Bengali cinema

Reality in reel

In world cinema, the wave of neo-realism has hit the understanding of filmmaking and story-telling. French, Italian, Iranian movies, their directors and others have intermittently shaped the notions of neo-realism for the global audience. Use of real shooting locations as opposed to constructed studio sets, stories focussing on the lives and struggles of ordinary humans, breaking the glamour of entertainment and the larger than life image—are some of the focus of neo-realism. In the Bengali film industry, directors such as Ritwik Ghatak, Satyajit Ray, Mrinal Sen, working in the post-Independent years, are widely accepted as the pioneers of neo-realism. They have brought epoch-making changes in the form of Bengali films.

Satyajit Ray

As a filmmaker, Satyajit Ray received national as well as international fame and recognition in 1955, with the release of his debut movie ‘Pather Panchali.’ The first part focuses on the trials and tribulations of a family in rural Bengal. The ‘Apu Trilogy’ eventually maps the protagonist’s transition into the urban life of Calcutta. Ray’s works had imprints of his experience gathered from working with French director Jean Renoir. The influence of Italian and French filmmakers such as Vittorio De Sica and Godard motivated his narrative style, plot selection, camera work and so forth.

Ritwik Ghatak

Known for his involvement in the Communist Party of India and Indian People’s Theatre Association, Ghatak got his first film release in 1955 named ‘Ajantrik.’ He is critically acclaimed for his Partition trilogy namely ‘Meghe Dhaka Tara,’ ‘Komal Gandhar’ and ‘Subarnarekha’ released in the first two years of the 1960s. They portrayed the social conflicts, gendered struggles, and life choices in the context of displacement and migration in West Bengal. In the early 1960s, Ghatak assumed the position of professor in the Film and Television Institute of India in Pune. It is believed that during his tenure he impacted the future generation of Indian filmmakers, actors and technicians.

Mrinal Sen

Mrinal Sen, known for making films high on social realities and political ideology, received widespread commercial success and critical recognition with ‘Bhuvan Shome’ in 1969. Along with award-winning movies, such as—‘Akaler Sandhane,’ ‘Kharij’ and ‘Mrigayaa’ he is remembered for the seminal Calcutta trilogy, comprising ‘Interview,’ ‘Calcutta ‘71’ and ‘Padatik.’ Released between 1971 and 1973, they depict and analyse social anxieties, political unrest and economic stringencies against the backdrop of Naxalite movement. It was in these movies that the city of Calcutta itself emerged as a critical character, demanding a revision of its romantic and nostalgic notions.