Chitta Basu and bengali films.

Chitta Basu and bengali films.

Chitta Basu was one of the notable directors who graced Bengali films during the 50s and 60s. Born on 27th November, 1907 in Khulna, Bangladesh, he contributed a lot to Bengali commercial films.

He worked under his maternal uncle Naresh Chandra Mitra from whom he learned work. He started his career with the Bengali film Bondhur Path in 1946. But he rose to stardom with the tremendous success of the film Chele Kaar in 1954. He did cast Bikash Roy and Arundhuti Debi in the main role. The story was relating to a small child played by Master Babua who caught Bikash Roy in the road and called him his father. At the end of the film his grandfather Chabi Biswas and grandmother Suprava Mukherjee accepted him as the son of Bikash Roy. Chabi Biswas played a cameo performance in the film and flabbergasted the viewers with his elegance even in the field of serio-comic films. Kalipada Sen composed the music of the film.

Chitta Basu continued with his dream in the film Ekti Raat with Uttam Kumar Suchitra Sen Kamal Mitra and others. The film was released in 1956 and music composed by legendary composer Anupam Ghatak. The serio-comic film did great business and Chitta Basu used the acting talent of Malina Debi to fullest extent in the film. Sandhya Mukherjee’s song “pradipero sikha keno kaape” became super hit. Chitta Basu’s other film Putra Badhu with Uttam Kumar and Mala Sinha did mediocre business.

Chitta Basu bounced back with the success of the film Bandhu in 1958. Uttam Kumar Asit Boron and Mala Sinha complimented each other in the film. Uttam Kumar gave landmark lips in Hemant Kumar’s song “mou bone aaj mou jameche” composed by Nochiketa Ghosh.

Chitta Basu was successful with the films Bindur Chele, Mantrashakti and Jaya. His other blockbuster was Mayamrigo in 1960. Chabi Biswas was perhaps at his height of dignity and elegance in the film. The story was written by Niharranjan Gupta and Uttam Kumar played a cameo to back up the new pair of Biswajeet Chatterjee and Sandhya Roy. The film had been remembered for dynamic performances from Sandhya Rani, Bikash Roy and Sunanda Debi. Manobendra Mukherjee was at his best as composer. All the songs in the film namely “bok bok bokum paira”, “metiri americar kabyo”, “bidhi re” became super hit. Chitta Basu continued the dream run with Biswajeet’s film Godhuli Belai. Again Manobendra Mukherjee’s romantic andaz in the song “godhuli belai” bewildered the viewers. Chitta Basu also made other films like Rastar Chele and Sesh Parba.

He died in 1993. One article is too small to describe the immense contribution of Chitta Basu to Bengali celluloid during the classic age. May be his performance opposite other giants like Ajoy Kar, Agragrami, Debaki Kumar Basu had left him unwept and unsung. His films should be preserved and restored.

Chabi Biswas was sublime in Maya Mrigo.

Chabi Biswas was sublime in Maya Mrigo.

Legendary actor Chabi Biswas was unparallel and sublime in the film Maya Mrigo. The film was directed by renowned director Chitta Basu in 1960. The film was based on the classic literature of Niharranjan Gupta. The writer always had glorified the character of mother in his literature. He had been prominent for his epic literature “Ulka” which was successful as play in Kolkata and also used in the bollywood film Meri Surat Teri Ankhen.

Maya Mrigo was the debut of the actor Biswajeet Chatterji and actress Sandhya Roy who were launched together as romantic pair in Bengali film in 1960. Chabi Biswas played the role of eminent barrister in the film, the husband of Sunanda Basu and the father of Biswajeet Chatterji. Sunanda Basu and Sandhya Rani were sisters. Sandhya Rani was married to Bikash Roy, who had a number of children. But Sunanda Basu was child-less. She took one son of Sandhya Rani and brought him up as her own son.

During second world war, Bikash Roy lost his limbs and Sandhya Rani lost all their children. Being helpless she came to Kolkata in the house of Chabi Biswas who had given shelter to a number of tenants including Uttam Kumar, Tarun Kumar, Tulsi Chakaravarty, Jahar Roy and others.

Sunanda Debi never greeted Sandhya Rani well, as she feared that if Biswajeet Chatterji came to know that he was the son of Bikash Roy and Sandha Rani, it would have been fatal for her. Bikash Roy died in the film. At the end of the film the truth was unfolded, but Chabi Biswas explained to everyone that both Sunanda Debi and Sandhya Rani, were accepted as the mother of Biswajeet, as one gave birth while the other brought up the child.

Manobendra Mukherjee composed excellent music in the film with hit songs like “bidhi re” and “metidiamericar kabyo” sung by him, “ore shon shon gerobaj” sung by Hemanta Mukherjee, and “bok bok bok bokum bokum paira” sung by Sandhya Mukherjee. But Chabi Biswas’s brilliant personality had overshadowed all the other performances in the film. He showed a contrast of expressions, including the kindness shown to Sandhya Rani and also the strictness shown to his tenants. The film should be restored for the brilliant performance of Chabi Biswas and also classic literature of Niharranjan Gupta.

Chabi Biswas was unparallel in the film Dadathakur.

Chabi Biswas was unparallel in the film Dadathakur.

Legendary actor Chabi Biswas was unparallel in the film Dadathakur. The film was directed by director Sudhir Mukherjee. It was based on the real life of stalwart personality Sharat Pandit.

Chabi Biswas who played the role of Sharat Pandit, who was popularly known as Dadathakur, created his own press during the colonial period. He was known for his wisdom and thought provoking literature. In every piece of literature he tried to make the readers laugh.

Tarun Kumar, a known swadeshi during British Raj took shelter in the house of Chabi Biswas. His wife played by Chaya Debi did not prevent it. Chabi Biswas helped the neighbours. He tried to get Sulata Choudhury married to a neighbouring zamindar played by Biswajeet Chatterji. During a procession when the swadeshis tried to put the Indian flag in place, the British police fired at the Indians and Biswajeet got killed.

Chabi Biswas believed in his own capability and never accepted any gift from the Britishers. When he went to buy the tools relating to his Press machine, he was offered the machine without any monetary consideration but Chabi Biswas bought it by paying money. Once he took contract to print question papers of a nearby high school. He went to give the question papers by travelling in train for the next 8 miles. But during monsoon, the railway track got submerged in water, and Chabi Biswas walked down the railway track to reach the question paper to the high school.

He even sold his own written work in the streets of Kolkata like a hawker. Netaji Subhash Chandra Bose saw him doing it, and being the mayor of Kolkata Corporation, he gave a hawking license to Chabi Biswas. It was a very difficult role to play as Dadathakur had been considered as one of the great intellectuals that graced Bengali soil during the freedom movement. But Chabi Biswas with his asthma, did a brilliant job and tried to depict the character of the maestro in his own way and got awarded also. The film should be preserved for its historical value.

Remembering Chabi Biswas on his birthday.

Remembering Chabi Biswas on his birthday.


Chabi Biswas was probably the greatest character artist Indian celluloid had ever produced. He has been remembered on his birthday on 13th July, 2010. His superlative class of performance had been acknowledged by brilliant directors like Satyajit Ray, Hrithik Ghatak, Raj Kapoor, Tapan Sinha, but he had remained unsung, unhonoured, unlamented.

Ray had a very serious personality and hardly required any improvisation as his innovative scripts had almost everything embedded in them. But Chabi Biswas brought out his own dimensions in the role of Feudal Lord in the film Jalsaghar. He combined the aristocracy and the dignity of the feudal lord in the colonial period and at times astonished Ray himself with his dynamic performances.

He even sold his wife’s ornaments to organize a musical program in his banquet room to maintain his dominance as a feudal lord. Singers from renowned classical gharana came and performed in the show and the entire village was invited to witness it. With the loss in revenue and poverty during British regime, he committed suicide by dying on horseback.

He was sublime in the film Debi, where he visualized Goddess Kali in the human form in Sharmila Tagore, his daughter –in –law. The entire concept was related to his belief and his son Soumitra took exception about the thing but was helpless. Sharmila became sick as it was awkward on her part to see his father-in-law touching her feet as she was believed to be Debi, the human form of Goddess.

Chabi Biswas was majestic in his classic role in the film Kanchenjungha. Ray experimented with a remote subject where the greatness of the Himalayas freed the mental blockade of middle-class bengalies. Arun Mukherjee, one of the unemployed youth even did not accept the job offered by big industrialist played by Chabi Biswas. At the end of the film Chabi Biswas realized the greatness of the great mountain range and surrendered before it. The film could not be understood by mass audience as it dealt with the concept of realization although the colourful photography of Ray in Darjeeling was well appreciated. But critics had acclaimed Chabi Biswas and said that he was the last name for the depiction of aristocracy in any form.

His dignified performance in the films of legendary directors like Ajoy Kar, Tapan Sinha, Prabhat Mukherjee, Agragami, Agradoot had not been forgotten by the mass. He had remained sublime in Prabhat Mukherjee’s Bicharak in the role of a charishmatic advocate, Tapan Sinha’s Kabuliwala in the role of an Afghan father, Ajoy Kar’s Suno Baranari in the role of a wealthy Barrister, Agragami’s Headmaster in the role of an old headmaster, to name a few. He died in a tragic accident in 1962 and Indian celluloid lost one of its greatest actors ever. His films should be preserved for projection of dynamism, class, dignity, aristocracy and majestic demeanour.

Bipasha bolstered the bond of Suchitra Sen, Robin Chatterji and Sandhya Mukherjee.

Bipasha bolstered the bond of Suchitra Sen, Robin Chatterji and Sandhya Mukherjee.

The film Bipasha bolstered the bond of Suchitra Sen, Robin Chatterji and Sandhya Mukherjee. The success of legendary actress Suchitra Sen was largely indebted to the romantic music composed by Robin Chatterji and songs sung by Sandhya Mukherjee. The brilliant team of Suchitra Sen, Sandhya Mukherjee and Robin Chatterji gave evergreen hit songs like “ghum ghum chand” in Sabar Opare, “tumi na hoy rohite” in Pathe Holo Deri, “jani na phurabe” in Sagarika, to name a few. Very significantly all those films directed by Agradoot. Uttam Kumar and Suchitra Sen are considered to be the greatest romantic pair that ever graced Indian silver screen. They acted in 30 films together and most of their films ended up being cine-classics. Bipasha was released in 1962 and did fantastic business.

It was a film directed by Agradoot where Robin Chatterji composed the music. Suchitra Sen was named Beas (Bipasha in Bengali) as she was born near river Beas. She lost her parents during riots occurring at the time of partition in 1947. She was saved by Kamal Mitra, a divine soul near Sialkot and reached to relief camp in New Delhi. She studied there and got a job in tribal welfare in Panchet in Bihar.

Uttam Kumar was an engineer who worked in Damodar Valley Corporation (DVC) projects. Both Suchitra Sen and Uttam Kumar met each other and entered into an affair. Suchitra Sen gave able lips in Sandhya Mukherjee’s song “aami sapne tomay dekhechi”. When Uttam Kumar wanted to marry Suchitra Sen, he got a letter from his maternal uncle played by Nitish Mukherjee saying that he was illegitimate son of his mother Chaya Debi.

Uttam Kumar went to Allahabad to find his mother and in her absence attempted to commit suicide. Chabi Biswas, a sanyasi there saved him. He wrote a letter saying that Uttam Kumar (Dibyendu Chatterji) was the son of Saradindu Chatterji (Chabi Biswas). Chaya Debi (his wife) gave birth to him before her marriage. Chabi Biswas went abroad and married another foreign girl. The foreigner filed a suit against Chabi Biswas after she knew that he was already married to Chaya Debi. Their Chaya Debi gave false testimony saying that she was not married to Chabi Biswas, to save her husband. Uttam Kumar came to be known as illegitimate son from that time. After that Chabi Biswas gave the contact details of Chaya Debi. Uttam Kumar and Suchitra Sen found her and film ended there.

The powerful story was given adequate expression by compassionate performance of legendary actor Chabi Biswas. Uttam Kumar and Suchitra Sen’s romantic performance just improved from film to film and viewers started thinking that both of them were husband and wife.

It is a pity that Uttam Kumar and Suchitra Sen did not show their powerful performance in bollywood films, otherwise they would have given very tough competition to Raj Kapoor and Nargis and Dilip Kumar and Vaijayantimala who ruled bollywood industry in the 50s. The film Bipasha should be restored for its aesthetic value.

The nation remembered Satyajit Ray on 2nd May, 2010.

The nation remembered Satyajit Ray on 2nd May, 2010.

The nation remembered Satyajit Ray on his birthday on 2nd May, 2010. Not only he was the recipient of the prestigious Oscar awards, he was the path-breaker in Indian films who taught the next-generation the art of story-telling.

Society had celebrated the 89th birth anniversary of the legendary director by showcasing some of his notable works like ‘Agantuk’, (The Stranger), ‘Jalsaghar’, (The Music Room), ‘Charulata’, (The lonely wife). The films were shown in Cinemax, Metro Big Cinemas and NCPA. The festival will continue till 16th May.

After the films were shown, the significance of such films was discussed by Bhawna Somayya, ex-editor of Screen, filmmaker Sujoy Ghosh and film academicians from all across the country. Besides, discussions were held to highlight the contribution of Ray as a writer, an illustrator, an activist of the film society movement and a filmmaker.

Internationally acclaimed directors like Shyam Bengal, Adoor Gopalakrishnan, were greatly influenced by Satyajit Ray’s films like Apu Trilogy, Jalsagar, Nayak, Mahanagar, etc., and they themselves became eminent story-tellers of the following period. The use of nature, the birds, and background, and the use of theme music in translating an unknown event to a group of individuals had enchanted the thoughtful directors all across the world. A personality like Ray could only make a film like Kanchenjungha, where the greatness of the Himalayas overshadowed the ego of a materialistic industrialist played by Chabi Biswas.

An important part of Satyajit Ray’s creations include his literature on diverse subjects. While his Sandip Ray had taken the challenge of converting the Feluda Series into feelings, his literature relating to horror-based subject matters, his series of 12 stories are yet to be converted into films. Sandip Ray’s films Bombaier Bombete, Kailashe Kelenkari, Baksho Rahasya, based on epic literature of Ray had got good response from the viewers.

But Ray’s brilliant stories in the 12 series like Ebaro Baro, Aro Baro, Ek Dojon Goppo, Aro Ek Dojon, Eker Pite Dui, are yet to see the light of celluloid. Ray’s stories like Khagam, based on the theme of human being converted into a snake, Pterodactyler dim, based on the prehistoric era, Fritze, based on the topic of life in a doll, Asomongobabur Kukur, based on the weird mannerisms of dogs, had bewildered the readers.

If such stories are adapted and made into films, the viewers will enjoy them to the brim. The legacy of Ray whether in the form of neo-realistic films like Pather Panchali, or suspense –thriller stories relating to Feluda Series or Professor Shanku, still continues, even 18 years after his death. The stories should be translated in different languages, and films should be preserved and restored.

Bikash Roy and Bengali films.

Bikash Roy and Bengali films.

During the golden age of Bengali cinema, that is the 40s, 50s and 60s, few actors had glorified silver screen in the most dynamic manner, such that the following generations were inspired by their dynamism. Chabi Biswas was considered to be the greatest character actor ever to have graced Indian screen by Oscar winning director Satyajit Ray. During that period, Bikash Roy was one of the colourful personalities whose mellifluous voice had enchanted audience of All India Radio and Bengali silver screen for more than 30 years.

Born on 16th May, 1916, Bikash Roy did BA from Presidency College in Kolkata and passed Bachelor of Law Exam subsequently. He was a famous lawyer of Alipore Sessions Court and District court. In 1932, he joined All India Radio under the supervision of Birendra Krishna Bhadra. He also worked in Signet Press. After coming in contact with notable director Jyotirmoyee Roy, he made his debut in the film Abhijatri in the 40s. He came to limelight with powerful performances in the film Bhuli Nai and Biyallish. His villainish andaz of dialogue throwing was used to perfection in the film Biyallish, where he played the role of a cruel officer who tortured Pradeep Kumar and Manju Dey, who were freedom fighters.

In Jighansha in 1951, noted director of all times, Ajoy Kar cast Bikash Roy in the role of an insane botanist who later turned out to be the murderer. The film had similarity with Arthur Conan Doyle’s epic novel The Hound of Baskervilles. Bikash Roy was the member of the Princely Estate, who could not inherit the property of his ancestors and went on killing one generation after the other by employing his relative Manju Dey who seduced the prince played by Biren Chatterji to a marshy land and were planned to be killed. Sishir Batabyal, the actor who played the role of Sherlock Holmes in the film unearthed the mystery. Bikash Roy’s modulation of voice rocked Bengali silver screen and from that time he became one of the leading stars of Bengali cinema. Bollywood film Bees Saal Baad was the remake of Jighansha.

He acted in the role of hero in the film Ratnadeep opposite Anubha Gupta in 1951 directed by Debaki Kumar Bose, Chele Kar opposite Arundhuti Debi in 1954 directed by Chitta Bose, Sajghar opposite Suchitra Sen in 1955 directed by Ajoy Kar, Bhalobasha opposite Suchitra Sen in 1955 directed by Debaki Kumar Bose, to name a few. But within short period of time his ability to play diverse types of characters established him as a powerful character artist. He had contributed in more than 100 films of Bengali superstar Uttam Kumar.

He played the role of eminent barrister in Suchitra Sen’s epic film Uttar Falguni in style. He was the husband of the Suchitra Sen, who was a baijee named Panna Bai, and defended her in a murder case where she killed Kalipada Chakravarty on provocation. He won the BFJA award for the best supporting actor for his dynamic performance. In the 60s, he played different type of roles and most of the performances had been versatile. Some of his landmark performances came in the film Surjotoron opposite Suchitra Sen, Sreeti Tuku Thak opposite Suchitra Sen, Jibon Trishna opposite Deepti Roy, Neel Akasher Neeche opposite Manju Dey, to name a few.

Viewers also remembered Bikash Roy for his stylish English accent that he used in landmark films like Sapmochon, Abhayer Biye, Jotu Griha, Shesh Anka, Chaddabeshi, etc. In some of these films the style was connected with comedy, while in others it had villainish mannerisms attached with it.

He had acted in films of noted directors of Bengal, including Tapan Sinha in the films Aarohi and Jotugriha, Mrinal Sen in Neel Akasher Neeche, Ajoy Kar in Jighansha, Rajen Tarafdar in Jiban Kahini, Haridas Bhattacharya in Indranath Srikanto and Annadadidi, Arogyo Niketan directed by Bijoy Bose, Chaya Surjo directed by Partho Pratim Choudhury. Besides, Bikash Roy made meaningful films as director.

Most of the films he directed were critically acclaimed like Raja Saja, where Uttam Kumar played the main role, Carey Saheber Munshi where Chabi Biswas played the main role, Basant Bahar where Bosonto Choudhury played the main role, Morutirtha Hinglaj where Uttam Kumar and Anil Chatterji played the main roles, etc.

Bikash Roy acted in more than 200 films, and articles after articles can be devoted his different styles of performances in various films. With his death in 1987, Bengal lost one of the versatile actors whose style and diction had remained unparallel.

Asitboron had impressive screen presence in Bengali films.

Asitboron had impressive screen presence in Bengali films.

Asitboron was the established Bengali star of the golden age, namely the 40s and 50s, whom Uttam Kumar surpassed and became a super star. An actor of more than 100 film, he had an impressive screen presence.

Born in 1913, he learned tabla lessons from renowned singer and composer Gyan Prokash Ghosh. He was noticed by actor Pahari Sanyal while performing in All In Radio and was given opportunity in Hemchandra Chandra’s film Pratisruti in 1941.

He played notable roles in the late 40s and early 50s. His successful films included Jaideb opposite Anubha Gupta, Kar Pape opposite Manju Dey, Nay Dondo opposite Arundhuti Debi. In Kar Pape he played the role of patient suffering from the disease of syphilis who married Manju Dey against the wishes of the doctor Chabi Biswas who advised him not to marry before he got absolutely cured. When Manju Dey got infected with syphilis and her children also died she fired Asit Boron at the end of the film when he was preparing for another marriage. The film created sensation in early 50s.

Asit Boron played the notable role of Mathur in the film Rani Rasmani. He was the son in law of Malina Debi in the film who never believed in God. But Sri Sri Ramakrishna Paramhanshadeb’s appearance changed his mind set. Malina Debi and Gurudas Bandhopadhyay’s spirited performance was balanced by Asit Boron’s smart performance. In Uttam Kumar’s film Khokababur Protyaborton, Asit Boron played the role of the Judge, whose son was lost by Uttam Kumar, the servant of the house, who sacrificed his own son in the film. It was Tagore’s classic literature which moved the audience. Ex-Chief Public Prosecutor, Bankshall Court (CMM Court),(North) Chitta Ranjan Chatterji, in an interview before Ananda Bazar Patrika mentioned that Asit Boron and Manju Dey came to Birpara and BK Paul Ground to play tennis in the early 50s, aside the lake where the Metro Railway from Dum Dum Station had been build. That showed the extra-curricular talents of the romantic actors who had huge fanbase during the 50s and 60s.

Asit Boron was professional singer and tabla player and all those skills were exhibited in the role of hero in the films of 50s and 60s. He played notable roles opposite Suchitra Sen in the film Sriti Tuku Thak and Shilpi, opposite Mala Sinha in Bandhu, Sandharani in the film Brotocharini, to name a few. Besides he played landmark roles in historical films like Raja Ram Mohan Roy, Antony Firingi, etc. In Antony Firingi he played the role of Bhola Moira, who contested against Uttam Kumar in the kabir larai, war between poets. He provided elegant performances in the films of other heroes, like Bosonto Choudhury’s Bodhu and Shreyasi, Nirmal Kumar’s Kono Ek Din, Uttam Kumar’s Surjo Toron, to name a few.

At the frag end of his career he showed his potentiality in Tapan Sinha’s film Harmonium. He was zamindar in the film whose harmonium was sold by his daughter and changed different hands and returned back to the daughter played by Arundhuti Debi. He commanded respect from the film community under his nickname “kaloda”. His films and songs should be preserved.

Ajoy Kar's Bardidi amazed the viewers.

Ajoy Kar’s Bardidi amazed the viewers.

Ajoy Kar used to be considered the Genius of Camerawork. He had used his imagination and innovation in crime-thrillers like Jighansha, social dramas like Shyamali, eternal romantic stories like Saptapadi.

Bardidi was the classic literature of Sarat Chandra Chatterji, one of the most respected writers of the country. Uttam Kumar was the model of Ajoy Kar and perhaps his range of acting was best used by the legendary director. In Bardidi, Uttam Kumar was the son of Pahari Sanyal, an eminent lawyer and zamindar of Pabna district in Bengal.

Uttam Kumar did MA and was told by his friends that he should stand on his own feet. He left his parent’s house and looked for a job. He got a job of tutor of girl in Chabi Biswas’s house. Chabi Biswas’s daughter Sandharani was widow, who lost her husband came back to paternal house and fulfilled the responsibilities there. Everyone called her as bardidi, meaning the elder sister.

Uttam Kumar got engrossed in studies hardly cared about the little girl’s tution. But Sandharani gave Uttam Kumar food three times a day and also provided him a separate room to continue his own studies. After 4 months, Sandharani came to know about Uttam Kumar’s act of hardly teaching anything to the girl and told his to leave the house.

Uttam Kumar left the house and met with an accident and got hospitalized. Sandharani came to see him in the hospital. Chabi Biswas contacted his father Pahari Sanyal and took him back to Pabna. After 5 years both Chabi Biswas and Pahari Sanyal died. Uttam Kumar married Dipti Roy and left the task of managing the zamindari to his clerk played by Dhiraj Bhattacharya.

Sandharani’s elder brother got married and his wife never like Sandharani’s control over the joint family. She returned back to her deceased husband’s house. But due to non-payment of rent to the zamindar the land was auctioned and sold.

Uttam Kumar came to know about it and called up bardidi (Sandharani) while she was returning back to her paternal house. Uttam Kumar drove on horseback to let Sandharani know about the fact that the land had been returned back. Uttam Kumar was very ill and died on the spot. Sarat Chandra Chatterji’s portrayal of village life in Bengal and the odds faced by young widow in the 30s and 40s had well depicted by Ajoy Kar. Uttam Kumar, Chabi Biswas and Sandharani were brilliant in their respective roles. The film did excellent business. It should be revived to show the excellence of classic films of the 50s.

Uttam Kumar was unparallel in Sakher Chor.

Uttam Kumar was unparallel in Sakher Chor.

Uttam Kumar was matchless in Sakher Chor. The film did excellent business in the early 60s. The film was directed by Prafulla Chakravarty.

Uttam Kumar played a bet with his friends to steal an item from a renowned person’s house. If he could establish himself as a thief he would win huge sum of money. He required a person to do it. He used Bhanu Banerjee to do it.

Bhanu Banerjee worked in the organization Kamal Mitra who was involved in unlawful activities. Kamal Mitra believed that Uttam Kumar was really a thief. When Uttam Kumar got involved in an affair with Basabi Nandi, the daughter of Kamal Mitra, Uttam Kumar was told not to mix with Basabi Nandi any more.

Basabi Nandi was supposed to be married to Tarun Kumar, the nephew of Chabi Biswas. Chabi Biswas called a lot of visitors in his place to celebrate the engagement ceremony of Tarun Kumar with Basabi Nandi. Uttam Kumar, Kamal Mitra and others were invited.

Tarun Kumar on the other hand never wanted to marry Basabi Nandi, but could not say it before Chabi Biswas. He told everything to Uttam Kumar. He made his work easy.

Uttam Kumar had the uphill task of explaining the situation to Kamal Mitra. He told the entire story about his bet with his friends. Kamal Mitra wrote a letter to Uttam Kumar and went away from the place.

Basabi Nandi was married with Uttam Kumar at the end of the film. Bhanu was absolutely amazed with the entire state of affairs. The music of the film was composed by Shyamal Mitra. The song “mon holo je majhi amar mon holo je majhi” sung by Shyamal Mitra became hit.

The film did not have any significant twist and turn. Inspite of everything it got box-office due to sheer brilliance of Uttam Kumar. He reached a level of excellence from where he could pull on any film on his own shoulders. Had Uttam Kumar acted in equal number of bollywood films he would have become a superstar of excellence at the same level as that of Raj Kapoor or Dilip Kumar. The film should be preserved.

Satyajit Ray's Kanchenjungha could not reach the masses.

Satyajit Ray’s Kanchenjungha could not reach the masses.

Satyajit Ray experimented with an abstract subject in the film Kanchenjungha in 1962. Based on the story of Ray himself, the film was related to the greatness of Himalayas, especially Kanchenjungha. But Ray’s message was reflected through the reactions of the actors and actresses of the film and it was hardly understood by the common mass.

It was the first Bengali coloured film, and the entire shooting was done in Darjeeling, the greatest tourist destination of West Bengal. Chabi Biswas played the role of the Rai Bahadur of that time, who was awarded the title by the British Government. He was the Chairman of 5 Companies in West Bengal. He wanted his daughter Aloknanda Roy to get married to N. Viswanathan, a careerist. Chabi Biswas’s entire family came to visit Darjeeling.

Haridhan, a middle-class person brought Arun Mukherjee to Darjeeling. He introduced Arun Mukherjee, with Chabi Biswas, so that he could give him a job. Arun Mukherjee was jobless in Kolkata and earned livelihood through private tution. When Chabi Biswas discussed the contribution of British Colonial Government in shaping Darjeeling and his own life, Arun Mukherjee was not moved by the materialist outlook of Chabi Biswas.

Arun Mukherjee stood in front of the great Himalayas, and the greatness of the mountain range prevented him from praying for his minor material requirements. He told Chabi Biswas that he did not require any job. He said if he wanted to work in any organization he would qualify for the post through hard work, not by reference of an influential person. At the same time, Aloknanda Roy did not find N. Biswanathan’s materialist talks impressive, and did not consent about marriage due to the effect of the romantic location of the place and influence of Kanchenjungha. Even her elder sister Anubha Gupta disclosed the truth to her husband Subrata Sen Sharma about her affair with another person, and agreed to tear away the letters that were related to the affair. They agreed to strengthen their relationship in the interest of their small daughter.

In the serious level of communication, Pahari Sanyal, the brother of Karuna Banerjee, the wife of Chabi Biswas, and Anil Chatterji, the son of Chabi Biswas, were the two relief characters. Anil Chatterji was interested in maintaining relationship with beautiful women, while Pahari Sanyal searched for beautiful birds in the place.

Chabi Biswas probably provided his most majestic performance of his life in Kanchenjungha, and his dignity, personality and elegance set up the theme of the film. He found that a poor small child singing a son in Darjeeling was happy, and Chabi Biswas’s earthly achievements were overshadowed by the gigantic presence of the evergreen Himalayas. Satyajit Ray brought his philosophy in the film and it won a number of awards in India and abroad, but even then the message did not reach the ordinary common mass due to abstractness of the subject.

Uttam Kumar's Khelaghar has appeal even today.

Uttam Kumar’s Khelaghar has appeal even today.

Mahanayak Uttam Kumar gave a brilliant performance in Ajoy Kar’s film Khelaghar released in early 60s. Ajoy Kar always considered Uttam Kumar as his model in most of the films including the greatest hits of all times, Harano Sur and Saptapadi. Uttam Kumar’s appeal had not died out even today after 29 years of his death. That is the reason Railway Minister Mamta Banerjee renamed Tollygunge Metro Station as Mahanayak Uttam Kumar Metro Station in the recent past to show homage to the greatest superstar of all times.

In Khelaghar, Uttam Kumar surrendered before Kolkata Police after being involved in anti-national activities. He was a freedom fighter. He ran out of the prison and entered the room of Mala Sinha, tied her up and by wearing the clothes of Mala Sinha’s father Chabi Biswas escaped.

The entire film was related to the efforts made by the Kolkata Police to arrest Uttam Kumar. In the meantime Mala Sinha did not want to marry the person selected by Chabi Biswas. So she left her house and took Uttam Kumar’s help to escape from the hands of local gundas.

The relationship developed into affection. Rafi sung for Asitboron in the film while Hemant Kumar sang songs for Uttam Kumar. At the end of the film, the actual freedom fighter for whom Uttam Kumar surrendered before the police appeared in Court and disclosed the truth. Uttam Kumar was a musician who had love for his country, so guarded the freedom fighter. Uttam Kumar was send to two years imprisonment for false personification under section 419 of the Indian Penal Code.

There were very few performers in the film including Chabi Biswas, Uttam Kumar and Mala Sinha. So these few characters Ajoy Kar, the giant director managed to deliver a hit film for the audience. The story still has relevance and Uttam Kumar’s appeal in the film had not died out. The film should be restored and preserved.

Chabi Biswas is remembered on his birth anniversary.

Chabi Biswas is remembered on his birth anniversary.

The viewers of Indian cinema remembered Chabi Biswas, the towering actor on his birth anniversary on 12th July, 2009. The legend had been considered the greatest actor ever to grace Indian celluloid by Oscar Winning director Satyajit Ray. Had he not met with a fatal accident in 1962 and died, Ray could have experimented much more with the dignified actor.

Firstly Chabi Biswas was the pivot around whom the entire Bengali film industry revolved. Tapan Sinha relied on the majestic actor in playing the role of Kabuliwala in Tagore’s classic Kabuliwala. Ajoy Kar asked Chabi Biswas to present his dignity in the film Saptapadi where he played the role of the father of Uttam Kumar who could not accept his change of religion from being Hindu to Christian. At the end of the film Chabi Biswas acknowledged the greatness of Suchitra Sen who loved Uttam Kumar, yet sacrificed her affair as she gave word to Chabi Biswas about not meeting him in her entire life.

Chabi Biswas was equally majestic in Ajoy Kar’s classic Suno Boro Nari. His character of Udashin had the right combination of dignity, aristocracy and discipline. He was barrister of reputation who did not allow his daughter Supriya Choudhury to marry Uttam Kumar who was assumed to be a poor homeopathy doctor. But he was left speechless when the actual identity of Uttam Kumar was revealed as a renouned Professor of Literature.

Satyajit Ray’s Jalsaghar tested the range of performance of Chabi Biswas and delivered blood and flesh in the character of Biswambar Roy who was a feudal lord of West Bengal. In fact Chabi Biswas was an unparallel figure in the roles of zamindars during colonial regime. His performance in Karthik Chatterji’s Saheb Bibi Ghulam, Rajen Tarafdar’s Antarikha was equally brilliant, where critics argued that Chabi Biswas even did more than the expectation of the directors in portraying the aristocracy of the zamindars.

Chabi Biswas had acted in more than 250 films during a span of 25 years and articles after articles can be devoted on his different andaz that was displayed in celluloid. His performance in Shambhu Mitra’s film Manik could have brought him Oscar, had the film being send by India abroad. He played the role of a paralytic patient with such diction that the viewers and the directors thought the character from Charles Dicken’s Oliver Twist had come out the pages of the book and appeared onscreen.

Raj Kapoor was astonished to see Chabi Biswas’s performance in his film Ekdin Ratre. The lips given by Chabi Biswas in Manna Dey’s song “ei duniyay bhai sabi hoi” compelled Raj Kapoor to agree that he was the greatest actor Raj Kapoor had seen in Indian films. He in fact regretted the absence of Chabi Biswas in bollywood films which could raised the standard of those films to another dimension.

Viewers still search Chabi Biswas in his unforgettable performances in films like Shashibabur Sangsar, Dada Thakur, Sabar Opore, Head Master, to name a few and never consider his death as a reality. His films should be preserved for the next generation to mark the level of excellence created by the greatest actor of Indian films ever.

Review of Uttam- Suchitra's Bipasha.

Review of Uttam – Suchitra’s Bipasha.

Uttam Kumar and Suchitra Sen are considered to be the greatest romantic pair that ever graced Indian silver screen. They acted in 30 films together and most of their films ended up being cine-classics. Bipasha was released in 1962 and did fantastic business.

It was a film directed by Agradoot where Robin Chatterji composed the music. Suchitra Sen was named Beas (Bipasha in Bengali) as she was born near river Beas. She lost her parents during riots occurring at the time of partition in 1947. She was saved by Kamal Mitra, a divine soul near Sialkot and reached to relief camp in New Delhi. She studied there and got a job in tribal welfare in Panchet in Bihar.

Uttam Kumar was an engineer who worked in Damodar Valley Corporation (DVC) projects. Both Suchitra Sen and Uttam Kumar met each other and entered into an affair. Suchitra Sen gave able lips in Sandhya Mukherjee’s song “aami sapne tomay dekhechi”. When Uttam Kumar wanted to marry Suchitra Sen, he got a letter from his maternal uncle played by Nitish Mukherjee saying that he was illegitimate son of his mother Chaya Debi.

Uttam Kumar went to Allahabad to find his mother and in her absence attempted to commit suicide. Chabi Biswas, a sanyasi there saved him. He wrote a letter saying that Uttam Kumar (Dibyendu Chatterji) was the son of Saradindu Chatterji (Chabi Biswas). Chaya Debi (his wife) gave birth to him before her marriage. Chabi Biswas went abroad and married another foreign girl. The foreigner filed a suit against Chabi Biswas after she knew that he was already married to Chaya Debi. Their Chaya Debi gave false testimony saying that she was not married to Chabi Biswas, to save her husband. Uttam Kumar came to be known as illegitimate son from that time. After that Chabi Biswas gave the contact details of Chaya Debi. Uttam Kumar and Suchitra Sen found her and film ended there.

The powerful story was given adequate expression by compassionate performance of legendary actor Chabi Biswas. Uttam Kumar and Suchitra Sen’s romantic performance just improved from film to film and viewers started thinking that both of them were husband and wife.

It is a pity that Uttam Kumar and Suchitra Sen did not show their powerful performance in bollywood films, otherwise they would have given very tough competition to Raj Kapoor and Nargis and Dilip Kumar and Vaijayantimala who ruled bollywood industry in the 50s. The film Bipasha should be restored for its aesthetic value.

Review of Satyajit Ray's Jalsaghar.

Review of Satyajit Ray’s Jalsaghar.

Satyajit Ray enlightened the viewers of the 50s with the end of feudalism in Bengal with the film Jalsaghar. The film was released in 1958. It was based on the epic literature Jalsaghar written by Tarashankar Banerjee.

Chabi Biswas gave the lifetime performance in the role of Biswambhar Roy in the film. He was an aristocrat zamindar whose 3 generations carried the legacy of the feudal legacy. Biswambhar Roy had passion towards music and brought established classical artists from Lucknow and Benaras to perform in his Jalsaghar.

While Chabi Biswas’s zamindari declined, Gangapada Basu’s zamindari thrived. He was a businessman whose fortunes did shine after 2nd world war. Chabi Biswas gave the thread ceremony of his lone son in front of his wife Panda Debi with pomp and grandeur. But the earnings of his estate decreased due to non- production of crops and increased poverty of farmers.

By selling his wife’s jwellery Chabi Biswas organized the last Jalsaghar in his house. Again the luminaries of the village and Gangapada Basu were invited. Roshanara Begum was invited to perform. Begum Akhtar gave brilliant performance of her classical song. Gangapada Basu tried to throw his jwellery at the feet of the performer, but Chabi Biswas stopped him saying the first person to award the performer in jalsaghar should be the host.

At the end of the film when Chabi Biswas came to realized from Kali Sarkar, his servant that there was no money to light his lamp (jhar lanthan), he travelled on the horse named Tufaan, and died out of horse-riding. Chabi Biswas’s dignity and aristocracy ended in glory with his death.

Satyajit Ray portrayed the film for the western world to show them the history of feudalism during the colonial rule. Zamindari ended after India’s independence. Satyajit Ray in his interview before Doordarshan had said in the 80s, that Chabi Biswas was the greatest actor who had graced Indian silver screen.

Chabi Biswas proved his indispensability in the role of zamindars in the film Jalsaghar. Character artists like Kali Sarkar, Gangapada Basu, Padda Debi did well in their respective roles. The film received many national and international awards. The film should be restored for its filmic value.

Demise of magician of Sarod - Ustad Ali Akbar Khan.

Demise of magician of Sarod – Ustad Ali Akbar Khan.

The nation pays homage to the departed soul of Magician of Sarod – Ustad Ali Akbar Khan, who died yesterday at an age of 87. He died in his own house at Sanfransisco due to failure of kidneys. He had glorified India’s face in the international arena with his brilliance in the classical instrument Sarod.

His father Alauddin Khan was a genius with maihar gharana. Ali Akbar Khan was born on 14th April, 1922 in the village Shibpur in Kumilla. He learned classical music at an age of 3 years. He learned it from his father and uncle Fakir Abtabuddin. He first performed in a show in Allahabad at an age of 13 years.

In 1956 he created Ali Akbar College of Music in Kolkata. Later he opened more branches of the same college of music in US and Switzerland. From 1965, he regularly took musical classes in US. At the same time with his unique creations in the world of classical music he attracted attention of legendary directors of India like Satyajit Ray and Tapan Sinha.

Satyajit Ray used the brilliant skills of Ustad Ali Akbar Khan in Chabi Biswas’s film Debi. In that film Ustad Ai Akbar Khan was the music director. Chabi Biswas saw Goddess Kali in the body of Sharmila Tagore, his daughter in law in the film. Ali Akbar Khan’s theme music in the film was appreciated within India and abroad.

In the early 60s, Ali Akbar Khan created wonders as music director in Tapan Sinha’s film Khudito Pashan. Tapan Sinha experimented with Tagore’s epic literature. Arundhuti Debi, the powerful actress in the film came in the dreams of Soumitra Chatterji. Ali Akbar Khan’s music reminded people of the medieval period during the rule of many nawabs.

Ustad Ali Akbar Khan also composed music in Bartalucchi’s film Little Buddha, Ivory Merchant’s film House Holders and Chetan Anand’s film Andhia. He left a lot of brilliant students of Sarod including Nikhil Banerjee, Ashish Khan, Alam Khan, to name a few, who are carrying forward his legacy.

Ali Akbar Khan created gems with Pandit Ravi Shankar, the magician of Sitar. Their combined performances made the intellectual audience speechless in different parts of the world. He even composed music for eminent classical singer Ustad Amir Khan. The listeners all across the world pay homage to the genius of Sarod who had made India proud with his brilliance in creative music.

Review of Uttam Kumar's Bicharak.

Review of Uttam Kumar’s Bicharak.

Bicharak was Uttam Kumar’s successful film based on the story of legendary writer Tarashankar Bandhopadhyay and director Prabhat Mukherjee. Prabhat Mukherjee was the husband of Aristocrat actress Arundhuti Debi. He died at an early age and Arundhuti Debi married renowned director Tapan Sinha later.

Bicharak was the story where Uttam Kumar was unhappy with his marital life with the wife played by Deepti Roy. Arundhuti Debi was the cousin sister of Deepti Roy, who was highly educated, and upstart. She played tennis with Uttam Kumar. Deepti Roy became jealous about Arundhuti Debi and created unrest in the family with Uttam Kumar.

One day when fire broke out in the room of Deepti Roy, Uttam Kumar saved himself and fell to help his wife to come out of the fire. Uttam Kumar married Arundhuti Debi and settled as judge later one. One day he witnessed a case filed in his court having the same type of fact situation. Chabi Biswas made submission before the Court explaining the fact situation. The performance of Chabi Biswas in the respective role was brilliant by every acting standard.

He submitted before the judge that two brothers were attached to a girl and loved her equally. When both the brothers well travelling on boat, the brother who new swimming threw the other brother into the river knowing that he could not swim. He died as a result of it. In plain eyes it was a case of accident, but the circumstances proved the fact that it was a murder. There was motive present in the mind of the younger brother, that was to marry the girl, and for that reason he killed his brother.

While adjudicating this case Uttam Kumar recollected his experience, when his first wife Deepti Roy stretched her hand when fire broke out and he felled to save her. He shared his experience with Arundhuti Debi who asked him to pray to God to forgive him.

The film was based on reflections of mind and the intellectual crowd appreciated the film. Uttam Kumar, Arundhuti Debi and Deepti Roy were sublime in their respective roles. The music given by Timir Boron was also impressive with Rabindrasangeet like “jokhon prothom meliche koli amar mollikabone”.

The film should be restored to mark the grand creation of Prabhat Mukherjee, a creative director of Bengali films of the 50s.

Chabi Biswas was considered the greatest actor by Satyajit Ray.

Chabi Biswas was considered the greatest actor by Satyajit Ray.

Satyajit Ray, the Oscar winning director of Indian films considered Chabi Biswas as the greatest actor ever to have been born in Asian soil. Ray brought the neo-realistic movement in Indian films and whenever he made a statement about an actor that statement used to be considered the verdict of Supreme Court judge. In that perspective Ray’s comments about Chabi Biswas in Shamik Banerjee’s interview had justified the fact that Chabi Biswas was the only actor in Indian cinema whose improvisation in a Satyajit Ray film had flabbergasted international audience of US, Canada, France, Germany, etc.

Satyajit Ray was known as the greatest perfectionist of his age. His script had each and every dimension relating to the work of the actors and actresses and there was hardly any scope of improvisation. But Chabi Biswas was such a great actor who could hardly be directed, nor guided, as his own innovation relating to the respective role that he played was brilliant by every acting standard. Ray had cast Chabi Biswas in three films Jalsaghar, Debi and Kanchenjungha, and due to his tragic death in 1962, Ray never got the scope of experimenting with the legendary actor in his following films.

In Jalsaghar, the character Biswambhar Roy could not have been portrayed by any other actor better than Chabi Biswas. It was based on the epic literature of Tarashankar Bandopadhyay, where Ray showed his brilliance in the depiction of Feudal System during Colonial period in Bengal. For Chabi Biswas, aristocracy got predominance in his life as a zamindar, and that dignity, personality, honour could not be sacrificed during his lifetime. As long as Chabi Biswas’s wealth matched with his aristocracy, the zamindar compromised with other aspects of life, but when the upcoming wealthy people in the village like Gangapodo Basu, by becoming rich through business, tried to equate themselves with the dignified landlord, they faced the tassles.

Ray admitted, the scene where Chabi Biswas brought baijee (classical singer) from Benaras to perform in his house and Gangapodo Basu tried to give her reward and Chabi Biswas prevented him, the diction, the aristocracy and dignity could only be portrayed by Chabi Biswas. He said a performer can be first rewarded by the host who called her, not the invitee. The scene where Chabi Biswas was told that due to lack of duty paid by the farmers, there was no money to light the jharlonthon, Chabi Biswas went upstairs and showed the photographs of his ancestors whose sacred legacy he carried forward, and that was the scene which shook international audience. Ray once said, had Chabi Biswas been born in US, he would have received Oscar award for his performance in Jalsaghar.

Chabi Biswas’s performance in the film Debi, based on the epic literature of Prabhat Mukhopadhay, was unparallel. He almost got the illusion of seeing Goddess Kali in Sharmila Tagore, who was his sister-in-law. The expression for the belief which was based on devotion to God, was very complex, which could be only played by Chabi Biswas. Ray admitted, that had Chabi Biswas not been there, he would not have made the film at all.

In respect of roles having dignified presence, Chabi Biswas could not be replaced. The best example was Kanchenjungha. There Chabi Biswas was a rich industrialist. He could not equate others with himself as he had money, power, recognition in society. But Ray experimented with the abstract subject of the greatness of Kanchenjungha creating an impact in the minds of all the passersby including an egoist of the stature of Chabi Biswas. That was the reason when Chabi Biswas called the name of his friend Banerjee, the film ended with the realizationof the greatness of the Himalayas.

All the films of Satyajit Ray where he exploited the majestic performance of all time great actor Chabi Biswas should be restored and preserved. Lessons of acting and film making cannot be learned in a better manner than observing the great works of the two giants together.

Remembering Satyajit Ray on 2nd May, 2009.

Remembering Satyajit Ray on 2nd May, 2009.

Viewers of international films all across the world remember Oscar Winning Director Satyajit Ray on 2nd May, 2009. Ray was born on 2nd May, 1921, and critics feel it was the birth of legend of legends and probably one of the greatest talents the world has ever produced after Rabindranath Tagore. Ray showed his excellence in every different of film making including script writing, costumes, music direction, costume designing, etc.

My father, Chitta Ranjan Chatterji, Ex-Chief Public Prosecutor, Bankshall Court, North, Calcutta, represented Sandip Ray, the son of Satyajit Ray, in a case relating to recovery of manuscripts from Uday Acharya, the brother of Nirmal Acharya, a renowned critic. When the manuscripts of Ray’s films were seized from Udai Acharya’s house and opened from sealed trunk it was seen that they were pictographic in nature. Script of the film Pather Panchali, Gonoshotru had illustrations at every part which showed the secret of Ray’s brilliant characterization in films.

Probably some of the actors and actresses in Ray’s films rose to stardom through the images portrayed by Ray. Chabi Biswas mesmerized the film lovers with his dignified performance in the role of Bishambhar Roy in the film Jalsaghar. Charu Prakash Ghosh was unparallel in the role of Birinchibaba in the film Kapurush Mahapurush. Anil Chatterji was unparallel in the role of Post Master in the film Teen Kanya. Utpal Dutt gave his performance for his life in the character Maganlal Meghraj in the film Joy Baba Felunath.

Similarly Om Puri and Smita Patil were sublime in their roles in the film Sadgati. Sanjeev Kumar entered the skin of the character played in the film Shatranj Ki Khiladi. Uttam Kumar could not have been replaced by any other actor in the film Nayak. Karuna Banerjee had made the role of mother of Apu immortal in the film Pather Panchali. Sharmila Tagore was outstanding in the film Debi. Tapen Chatterji and Robi Ghosh are still remembered by filmlovers through their character Goopi Bagha.

All the Indian directors like Shyam Benegal, Adoor Gopalakrishnan ,had agreed that they learnt the art of story-telling from Ray’ films. Even the theme music of the legendary director had moved the directors all across the world. Audrey Hepburn, the Oscar winning actress while awarding the Oscar award for lifetime contribution of Ray, said in her speech that Ray’s direction had the soul of Apu in the Apu Trilogy march out from the village of West Bengal and explored India and expressed the struggle for existence of every middle-class individual of the country.

Whenever classic literature of novelists and writers were used in films, Ray created his own dimension in those films, including the standard of excellence in the films Charulata and Ghare Baire which were based on the epic literature of Tagore. Films made by Ray from his own literature like Sonar Kella, Joy Baba Felunath, Agantuk, etc., were equally brilliant.

The films of Ray should be preserved to disseminate the art of script writing, costume designing, theme music, camera work, neat direction, etc.

Asitboron - the unsung hero of Bengali film industry.

Asitboron – the unsung hero of Bengali film industry.

Asitboron was the most enterprising hero of Bengali films before Uttam Kumar ruled the industry. He had various qualities like singing, playing the table, etc. He created a permanent position of prestige in the minds of producers and directors with his devotional performance in the film Joydev.

At that time Robin Mojumdar was the main hero of Bengali films. As Robin Mojumdar was both a singer and an actor the producers used his talent to perfection in the films like Bhangagara, Jogajog, Kobi, etc. But Asitboron was smart, handsome and in urbanized roles became the automatic choice of the modern directors. His film Kar Pape stormed Bengali industry in the early 50s. The film was made with a bold subject of Asitboron being infected with syphilis and the contagious disease was spread his wife Manju Dey. Chabi Biswas, the doctor in the film warned Asit Boron not to marry any one before the disease was fully cured. He did not listen to him and the disease spread to Manju Dey. At the end of the film Manju Dey fired Asitboron when he went to marry another girl. The powerful performance of Chabi Biswas and Manju Dey stands out as one of their most dynamic performances of any performer in Bengali films.

Asitboron was sublime in the role of Mathur, in the film Rani Rashmoni. He was the son-in-law of Malina Debi, and educated during Colonial period. His western thoughts did not allow him to believe that Sri Ramkrishna was an avatar. But he was convinced by Malina Debi at the end of the film. Asitboron did extremely well in the role of Munsef in Uttam Kumar’s film Khokababur Protyaborton. It was based on the epic literature of Tagore, and Asitboron expressed the relationship of a master with his servant to perfection during the relevant period.

Asitboron played the role of famous kabiyal Bhora Moira, in Uttam Kumar’s film Antony Firingi. He contested against him in the musical competition where Antony Firingi defeated him. His performance in Tapan Sinha’s film Harmonium also requires special mention. He played the role of a Zaminder whose harmonium was sold in auction by his daughter Arundhuti Debi, and after the harmonium changed different hands it was resold back to Arundhuti Debi, at the of the film.

His other famous films include Bondhu opposite Mala Sinha, Brotocharini, Badhu, Shilpi, Sriti Tuku Thak opposite Suchitra Sen, to name a few. He had a number of basic discs in his own voice, too. He had acted in more than 100 films in a span of 30 years. It is really sad that he died unwept, unsung, unlamented and unrecognized. The viewers forgot his contribution in Bengali films during the pre-Uttam Kumar period when his effortless performance attracted the urbanized youth of the early 50s. His films should be restored and preserved.

My father Ex. Chief Public Prosecutor, Bankshall Court, North, met Asitboron near Glass House in Paikpara (North Kolkata) in the early 50s, when he used to come for playing tennis with actress Manju Dey, and fishing activities in a lake where the modern Metro Rail is situated near Dum Dum Station. Asitboron disclosed to my father that Uttam Kumar once told Asitboron that kaloda (that was his nickname), can you lend me your walking style. Later Uttam Kumar developed his own walking style which was imitated by many heroes of contemporary period.