Uttam Kumar and Ajoy Kar were sublime in Khelaghar.

Uttam Kumar and Ajoy Kar were sublime in Khelaghar.

Mahanayak Uttam Kumar acted in more than 8 films of epic director Ajoy Kar, which included the biggest hits of all times like Harano Sur and Saptapadi. 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. Asitboron gave good lips in the song sung by Rafi. 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.

Uttam Kumar and Ajoy Kar were sublime in Khelaghar.

Uttam Kumar and Ajoy Kar were sublime in Khelaghar.

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. Asitboron gave good lips in the song sung by Rafi. 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.

Producer RD Bansal passed away.

Producer RD Bansal passed away.

Eminent Producer RD Bansal passed away on 11th December, 2010 at the age of 88 years. During the golden age of Bengali films, that is the 50s and 60s, he produced classic film made by the all the giant directors of Bengal, including Oscar Winning director Satyajit Ray, Dada Saheb Phalke Winner Tapan Sinha, Ajoy Kar, Mrinal Sen, and others. As producer he received the President’s gold medal and silver medal a number of times, the awards for the best feature film made in the respective years.

He produced Ray’s film Charulata and Kapurush Mahapurush. While Charulata dealt with classic literature of Rabindranath Tagore, Kapurush Mahapurush dealt with two different stories. Mahapurush dealt with comedy oriented story of Rajshekhar Basu having pen-name Parashuram, who had social message in the film. Both the films of Ray were classical masterpieces and won several awards both national and international. He also produced Ray’s film Jay Baba Felunath, which was based on the detective stories written by Tagore on the cases solved by Feluda or Prodosh Mitra. He also produced the film Mahanagar.

He also produced Ajoy Kar’ film Saat Pake Bandha. For the brilliant performance in the role of a struggling woman, Suchitra Sen received special jury award from Moscow, Russia.

He produced the film Shashibabur Sangsar, where Chabi Biswas played the brilliant role of the karta of hindu undivided family in the name of Sashibabu. He also produced the film Shesh Porjonto, where Biswajeet Chatterji and Sulata Choudhury played pivotal roles. In the later years he produced the film Nishijapon directed Sandip Ray.

Producers of the present age should learn from RD Bansal, the art of producing meaning realistic films. Although the films were created with intellectual acumen, the common mass had enjoyed them. RD Bansal’s films should be preserved and restored.

Happy birthday to Uttam Kumar.

Happy birthday to Uttam Kumar.

The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his birth anniversary on 3rd September, 2010. This was his 84th birth anniversary. He had died almost 30 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.

Last year the Governer of West Bengal launched the 50 rupees postal stamp having the engraving of Uttam Kumar in it. Previously Raj Kapoor and Dilip Kumar’s faces were engraved in Postal stamps for remembering their contribution to Indian cinema.

Last year, Mamta Banerjee, the Union Railway Minister, renamed the Tollygunge Metro Station as Mahanayak Uttam Kumar station. In fact the people of Tollygunge cannot associate the place without the existence of Uttam Kumar whose works glorified the different studios which carried on the legacy of Bengali Film Industry.

Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.

When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.

He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.

Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.

Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures. Out of his 205 films, around 37 of them ended up being blockbusters, around 50 were super hit films and around 50 were hit films. Actor Shatrughun Sinha in his interview before Bengali media had disclosed that when he was working in Pune Film and Television Institute, the graduates had unanimous view that Uttam Kumar, Raj Kapoor and Dilip Kumar were the greatest superstars of celluloid and had Uttam Kumar acted in more number of bollywood films, he would have remained as great a legend as Dilip Kumar or Raj Kapoor.

Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.

Actor Shatrughun Sinha in his interview had said that during his student life in Pune Film and Television Institute, the upcoming actors used to debate about the charishma of Uttam Kumar, Raj Kapoor and Dilip Kumar. Although there was no unanimity about the finest actor among them, there was consensus about one fact had Uttam Kumar established himself in bollywood films by acting in more number of films, he would have been equally an international figure like Raj Kapoor or Dilip Kumar.

Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Uttam Kumar is remembered in Bangladesh.

Uttam Kumar is remembered in Bangladesh.

Mahanayak Uttam Kumar had been remembered in Bangladesh during his 30th death anniversary on 24th July, 2010. The ceremony had started on 24th July and will end on 26th July, 2010.

The Uttam Kumar festival taken place in the capital city Dhaka in Bangladesh. Uttam Kumar had been few of the celebrities who had been remembered and honoured in foreign country like Bangladesh. Previously Bangladesh had honoured the legendary directors Satyajit Ray and Hritwik Ghatak in their country.

During the Uttam Kumar festival, few of his landmark films had been telecast. As the legendary actor had ruled Bengali silver screen over a period of 35 years, so in one festival all his films cannot be covered. So the films like Nayak, Saptapadi, Pathe Holo Deri, Choddobeshi, Dhanni Meye, Harano Sur, etc. , had been telecast.

The striking part of the Uttam Kumar festival lies in the diversity of directors, whose films had been selected where Uttam Kumar had shown his excellence. Nayak had been directed by Oscar Winning Director Satyajit Ray. The film showed the complexity of the life of a matinee idol, which according to the critics had remained the biography of superstar Uttam Kumar.

Harano Sur and Saptapadi were the two greatest blockbusters of Bengali celluloid directed by stylish director Ajoy Kar. Uttam Kumar was the producer of both the films. The films also bolstered the eternal pair Uttam Kumar and Suchitra Sen, who had remained the greatest romantic pair ever to grace Asian silver screen.

Pathe Holo Deri was a romantic film of Uttam Kumar and Suchitra Sen directed by Agradoot. It was a musical blockbuster, where composer Robin Chatterji and singer Sandhya Mukherjee had created history with the romantic songs which became immortal over a period of time.

Dhanni Meye was a comedy film directed by Aurobindo Mukherjee. The film was related to the eternal craze of bengalies with respect to the sport of football. Uttam Kumar played the role of a business tycoon who was still obsessed with football and made his brother a footballer. The comedy sequences were related to the marriage of his brother Partho Mukherjee with the village girl played by Jaya Bacchan. The film did fantastic business in the early 70s. Similarly Choddobeshi was a comedy film where Uttam Kumar and Madhabi Mukherjee played the lead roles. It had been remade in hindi by Hrishikesh Mukherjee with the title Chupke Chupke, where Dharmender played the role of Uttam Kumar.

It had been a great honour for bengalies all across the world that Uttam Kumar had been remembered by a neighbouring country, who share the same mother tongue, to whom still Uttam Kumar still remain a living God. The viewers pay homage and respect to the departed soul and wish his films to be preserved and restored.

Kalipada Sen and Bengali films.

Kalipada Sen and Bengali films.

Composer Kalipada Sen made very valuable contribution in Bengali films during the 50s, 60s and 70s. He faced the keen competition against legendary composers during the golden age of Bengali film music including Robin Chatterji, Anupam Ghatak, Pabitra Chatterji, Anil Bagchi, Salil Choudhury, Sudhin Dasgupta, Nochiketa Ghosh, Manobendra Mukherjee, Hemanta Mukherjee, Shyamal Mitra, and yet created his own identity.

He composed brilliant music in Uttam Kumar’s film Sare Chuattor in 1953. His shyamasangeet “e maya proponchomoy” sung by Dhananjoy Bhattacharya enchanted the viewers. The other song was chorus song “amar ei jouban champachameli bone” where Manobendra Mukherjee, Shyamal Mitra and others did lend their voices. Manobendra Mukherjee and Shyamal Mitra even acted in the film. The film was directed by Nirmal Dey.

In Chitta Basu’s film Chele Kar, Kalipada Sen composed decent music. The comedy film released in 1954 had legendary actors and actresses like Bikash Roy, Chabi Biswas, Arundhuti Debi, Suprabha Debi, to name a few. The songs “badla akash”, “rononigandha”, etc., became hit. Ajoy Kar directed Shyamali in 1956, and Kalipada Sen composed music for the super hit.

He composed music in many successful films of Uttam Kumar including Bidhilipi, Lakhahira, Punarmilan, Kankabatir Ghat, Raja Shaja, Upahar, Biraj Bou, etc. Very significantly he composed music in the films of directors from 50s to 60s. It included Ankush and Nirjan Saikate directed by Tapan Sinha, Darpa Churna directed by Dilip Ray, Bindur Chele directed by Chitta Bose, Sadanander Mela directed by Sukumar Dasgupta, Dui Bari directed by Ashim Pal, Debatra directed by Haridas Bhattacharya, Kathin Maya directed by Sushil Majumdar, Bamuner Meye directed by Ajoy Kar, to name a few.

At the same time he had composed music for all the legendary singers of the golden age including Sandhya Mukherjee, Hemanta Mukherjee, Manna Dey, Shyamal Mitra, Supriti Ghosh, Manobendra Mukherjee and others.

His films and music should be restored and preserved.

Shyamali became super hit due to brilliance of Ajoy Kar.

Shyamali became super hit due to brilliance of Ajoy Kar.

Ajoy Kar, the classic director of 50s and 60s experimented with classic literature of Ashapurna Debi in the film Shyamali. It was a great risk and there was possibility of the viewers not accepting the film. The reasons were obvious. The literature was read by entire Bengali community of the country.

The same story of Shyamali was played in Star Theatre in Kolkata for 4 years in the mid-50s. In the play Uttam Kumar and Sabitri Chatterji played the lead roles while Sarajubala Debi played the role of the mother of Uttam Kumar. Ajoy Kar picturised Shyamali in 1956 with the team of Uttam Kumar and Kaberi Bose. And Malina Debi played the role of the mother of Uttam Kumar. Previously it had been seen that any play which was successful with the audience did not do well when picturised in film. Shyamali was an exception.

In the film Ahindra Choudhury had two daughters, Kaberi Bose being the elder one. Kaberi Bose was deaf and dumb. Her younger sister was proposed to be married to Uttam Kumar, but due to fulfillment of wishes of Kaberi Bose, the priest chanted mantras related to marriage with Uttam Kumar. Uttam Kumar accepted Kaberi Bose as wife while his friend married the younger sister Bijoli. Ahindra Choudhury wanted Uttam Kumar to marry Bijoli, but Uttam Kumar sacrificed his life for Shyamali saying that mantras were already chanted and marriage was done. But Uttam Kumar’s mother Malina Debi did not accept Kaberi Bose as her daughter-in-law. Uttam Kumar did not have any other option but to leave Kaberi Bose in her mother’s house.

Uttam Kumar and Malina Debi went for pilgrimage to Hrishikesh, Badrinath, Kedarnath and brought Anubha Gupta who lost her parents and served Uttam Kumar when he became extremely sick whiling to travelling to those places. Malina Debi wanted to marry Uttam Kumar with Anubha Gupta.

But Uttam Kumar tried to convince her that his wife Kaberi Bose was still alive. When Uttam Kumar heard that Kaberi Bose’s mother Aparna Debi died and she slept with the photo of Uttam Kumar, he went to her house and brought her back. Uttam Kumar finally convinced Malina Debi that although Kaberi Bose could not speak, she could react to human actions, had a human mind full of feelings. She required her blessings to start a journey in the new family.

The film became super hit due to sheer brilliance of Ajoy Kar. Uttam Kumar, Kaberi Bose, Malina Debi, Anubha Gupta were all sublime in their respective roles. Malina Debi in fact outcast Sarajubala Debi who was a phenomenon in Bengali stage. The film should be restored to remind the viewers about a successful play being remade into film which featured the same level of excellence as depicted in the play.

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.

Happy birthday to Moushumi Chatterji.

Happy birthday to Moushumi Chatterji.

The viewers of bollywood films wish happy birthday to actress Moushumi Chatterji on 26th April, 2010. She started her career in films by playing an important character in Bengali film Parineeta. With her she attracted the attention of leading producers and directors of Bengali films including Ajoy Kar and Tarun Majumdar. She acted in a number of Bengali films and then went to Bombay.

In bollywood she played notable roles during the period when the directors like Basu Chatterji, Basu Bhattacharya were involved in making realistic films. Her film Manzil Manzil opposite Big B, became successful, as the film was based on the realistic story titled Akash Kusum which was the Bengali film directed by Mrinal Sen. Her performance in the film Benam, opposite Big B was also outstanding. It was a suspense thriller where Big B’s son was kidnapped and Moushumi expressed the anxiety very well in the film.

In the 70s, Moushumi’s performance in the film Anuraag, opposite Vinod Mehra was worth mentioning. She played the role of a blind girl and did very well in the role. The music in the film composed by SD Burman was also very successful including Rafi’s song “who kya hai”. Mushumi did well also in the action films of that period including the film Goutam Govinda, where Shashi Kapoor and Shatrughun Sinha were brothers and helped the villagers against the oppression of Premnath in the film.

In the early 80s, Moushumi’s performance in superstar Uttam Kumar’s film Ogo Bodhu Sundari gave a special place for her in Bengali films. The film was the last film of Uttam Kumar as he died on 24th July, 1980. The story was based on the epic literature of George Bernard Shaw titled Pygmalion. Uttam Kumat brought Moushumi in his house to teach her. She was totally uneducated and learned culture, education and living style in a modern society from Uttam Kumar. The music of Bappi Lahiri in the film was equally successful.

In the 90s, Moushumi did extremely well in character roles. She was sublime in Sunny Deol’s film Ghayal, where she played the role of the sister- in-law of Sunny. A scandal was publicized against her and she committed suicide in the film.

She also contested MP elections from Kolkata from the Congress (I) ticket in 2004. Viewers agree that there is lot of acting left in Moushumi and they want her to continue the brilliant work both in bollywood films and Bengali films.

Use of Subodh Ghosh's literature in Bollywood and Bengali films.

Use of Subodh Ghosh’s literature in Bollywood and Bengali films.

Born in 1909, Subodh Ghosh was considered another “kathashilpi”, an artist of words, after Sarat Chandra Chatterji. Born in Harazibag, he studied in St. Columbus College. He travelled to East Africa to work as contractor’s worker. He accompanied Gandhiji in riot-torn Noakhali at the eve of independence. In late 30s he joined Anandabazar Patrika at Calcutta. The University of Calcutta honored him with prestigious Jagattarini Gold Medal.

He rose to fame with his brilliant work Bharat Prem Katha. His stories had been converted in cine-classics both in bollywood and Bengali films. His story based on collusion of aristocracy and business interests against common man was used by Bimal Roy to make the film Anjangarh in 1948. His story Ajantrik, an abstract theme relating to relationship of human being with a car, was given expression by award winning director Hrithik Ghatak in 1958. Kali Banerjee stormed Bengali audience with his compassionate performance.

In 1959, Bimal Roy used Subodh Ghosh’s classic literature Sujata, where Nutan provided lifetime performance in the role of outcast woman who loved a Brahmin boy played by Sunil Dutt. The film received critical acclamation. Subodh Ghosh won the award for the best story writer for Sujata. Ajoy Kar’s romantic blockbuster Suno Boro Nari in 1960 stormed Bengali audience. Uttam Kumar’s character of Bengali Professor who was humiliated after his student giving assurance of marriage, marrying a wealthy person, and who resided in Giridih in the disguise of homeopathic doctor touched the souls of middle-class bengalies. His submissiveness before the dignified Barrister Udashin played by Chabi Biswas created a new dimension in the history of cine-classic. Supriya Choudhury, the daughter of Chabi Biswas deserted her house to embrace Uttam Kumar, when he was at the verge of leaving Giridih in a train. Subodh Ghosh’s words had entered the veins and arteries of sensitive viewers.

Tapan Sinha’s epic film Jodugriha shook the Bengali audience in 1964 with the brilliant story of Subodh Ghosh. Uttam Kumar and Arundhuti Debi’s sacred relationship which got fragmented due to lack of children touched the Bengali audience. Both respected each other even after separation, and the last travel in two separate train bifurcating each other tantalized the viewers with the message of eternal realization. The character artists in film including Anil Chatterji, Bikash Roy displayed their level of excellence in their respective roles. The power packed of performance in Tapan Sinha’s film inspired Gulzar to make Ijaazat, with Naseeruddin Shah and Rekha but the film did not receive similar level of critical acclamation like Jotugriha.

His story Parashuramer Khutar was used by noted filmmaker Nabendu Chatter for making his classic film where Arun Mukherjee played the role of tanga-owner who could not dream about the means of transport with which he earned his livelihood. His story Teen Adhyay was used in Uttam Kumar’s successful film in late 60s. Tarun Majumdar used his story in the film Thagini where Utpal Dutta played a landmark role relating to revenge being taken against a cheat in Kolkata. It is difficult to highlight the immortal stories of Subodh Ghosh in a small article as he was the inspiration of landmark writers of following age including Bimal Kar.

Uttam Kumar and Ajoy Kar.

Uttam Kumar and Ajoy Kar.

Uttam Kumar being the greatest superstar of Bengali cinema during the golden age, that is the 50s, 60s and 70s, had acted in the films of all the legendary filmmakers of Bengal and the country as a whole. He had worked with Satyajit Ray in films like Nayak, Chiriakhana, Tapan Sinha in films like Jotugriha, Jhinder Bandi, Agragami in films like Sankhabela, Shilpi, Agradoot in films like Sabar Opore, Surjo Toron, Gulzar in films like Kitaab, Mrinal Sen in films like Raat Bhor.

But the commercial films in which Uttam Kumar had gained stardom were mostly related to the works of Ajoy Kar, the innovative filmmaker of the country. He utilized the middle-class image of Uttam Kumar in the film Griha Prabesh. He made Uttam Kumar play a sacrificing role in the society in the film Shyamali. Shaymali was staged in Star Theatre in Kolkata as play and ran successfully for more than 4 years. Ajoy Kar came out victorious in the film Shyamali after Uttam Kumar played a cameo in the film.

Uttam Kumar played the role of an honest academician in the film Bardidi based on the epic literature of Sarat Chandra Chatterji. Ajoy Kar provided spectacles in the make up of Uttam Kumar. Uttam Kumar was as brilliant in the role of a down to earth zamindar as Sandharani who played the lead role in the film.

Ajoy Kar’s Harano Sur was the biggest hit film of Bengali cinema of the 50s. Uttam Kumar and Suchitra Sen became the most enterprising romantic pair of the millennium with the landmark performance in the film Harano Sur. Uttam Kumar lost his memory in the early part of the film after meeting with an accident and married Suchitra Sen. He forgot her after his earlier memory was regained. Suchitra Sen worked in the house of Uttam Kumar as governess of Uttam Kumar’s brother’s child to return his memory. Uttam Kumar produced the film and it created history.

The Ajoy Kar Uttam Kumar magic continued in the film Saptapadi based on the classic literature of Tarashankar Bandopadhyay. Uttam Kumar being a hindu Brahmin married Suchitra Sen, a Christian. Chabi Biswas the father of Uttam Kumar begged before Suchitra Sen to forget Uttam Kumar. Uttam Kumar changed his religion, became a doctor and served the people during the 2nd world war. He even cured Suchitra Sen who suffered a bomb blast during the war. The film was considered to be the greatest hit of the 60s.

Uttam Kumar acted in other landmark films of Ajoy Kar like Suno Boronari and Khelaghar. It was pity that in the late 60s, Ajoy Kar went to Pune Film and Television Institute and taught new directors the art of film making. Otherwise he could have experimented more with Mahanayak Uttam Kumar. The legendary films of the great director and the landmark matinee idol should be restored for the future generations.

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.

Ajoy Kar took risk of making Shyamali with Uttam Kumar.

Ajoy Kar took risk of making Shyamali with Uttam Kumar.

Ajoy Kar, the classic director of 50s and 60s experimented with classic literature of Ashapurna Debi in the film Shyamali. The literature was read by entire Bengali community of the country.

The same story of Shyamali was played in Star Theatre in Kolkata for 4 years in the mid-50s. In the play Uttam Kumar and Sabitri Chatterji played the lead roles while Sarajubala Debi played the role of the mother of Uttam Kumar. Ajoy Kar picturised Shyamali with the team of Uttam Kumar and Kaberi Bose. And Malina Debi played the role of the mother of Uttam Kumar. Previously it had been seen that any play which was successful with the audience did not do well when picturised in film. Shyamali was an exception.

In the film Ahindra Choudhury had two daughters, Kaberi Bose being the elder one. Kaberi Bose was deaf and dumb. Her younger sister was proposed to be married to Uttam Kumar, but due to fulfillment of wishes of Kaberi Bose, the priest chanted mantras related to marriage with Uttam Kumar. Uttam Kumar accepted Kaberi Bose as wife while his friend married the younger sister Bijoli. But Uttam Kumar’s mother Malina Debi did not accept Kaberi Bose as her daughter-in-law. Uttam Kumar did not have any other option but to leave Kaberi Bose in her mother’s house.

Uttam Kumar and Malina Debi went for pilgrimage to Hrishikesh, Badrinath, Kedarnath and brought Anubha Gupta who lost her parents and served Uttam Kumar when he became extremely sick whiling to travelling to those places. Malina Debi wanted to marry Uttam Kumar with Anubha Gupta.

But Uttam Kumar tried to convince her that his wife Kaberi Bose was still alive. When Uttam Kumar heard that Kaberi Bose’s mother Aparna Debi died and she slept with the photo of Uttam Kumar, he went to her house and brought her back. Uttam Kumar finally convinced Malina Debi that although Kaberi Bose could not speak, she could react to human actions, had a human mind full of feelings. She required her blessings to start a journey in the new family.

The film became super hit due to sheer brilliance of Ajoy Kar. Uttam Kumar, Kaberi Bose, Malina Debi, Anubha Gupta were all sublime in their respective roles. Kalipada Sen composed music for the film. The film should be restored to remind the viewers about a successful play being remade into film which featured the same level of excellence as depicted in the play.

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.

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar on his death anniversary.

The nation remembers Uttam Kumar, one of the greatest superstars of Indian celluloid on his death anniversary on 24th July, 2009. He has died almost 29 years ago, yet the viewers had not forgotten his films and still his presence is felt in the life bengalies in different parts of the world.

Oscar winning director Satyajit Ray acknowledged the dynamic presence of the legendary superstar in Bengali films and made a film Nayak based on the story of Uttam Kumar. His original name was Arun Kumar Chatterji, who was a clerk in Port Commission before joining Bengali films.

When he joined films with Drishtidaan in 1948, he had to struggle to create his image as against he established heroes like Asit Boron, Bikash Roy and others. In 1952, his film Basu Paribar struck at the box-office and he overtook Bosonto Choudhury, Asit Boron and became the leading superstar of Bengali films. All the qualities of a romantic hero was possessed by him, including a standard height, good complexion, manly voice, romantic hairstyle and unique dialogue delivery. Any dress suited the legendary superstar including Punjabi, dhoti, coat, Bengali dresses, etc.

He had acted in the films of all the legendary directors of the golden age including Satyajit Ray’s Nayak, Chiriakhana, Tapan Sinha’s Jhinder Bandi, Upahaar and Jotugriha, Ajoy Kar’s Harano Sur, Saptapadi, Suno Bara Nari, etc., Agradoot’s Bipasha, Surjo Toron, etc., Agragami’s Sagarika, Shonkhobela, to name a few. Uttam Kumar acted opposite all the leading actresses of Bengali celluloid including Suchitra Sen, Arundhuti Debi, Manju Dey, Sabitri Chatterji, Supriya Choudhury, Mala Sinha, and others. His combination with Suchitra Sen had given everlasting classics and both of them still remains the most romantic pair in Indian silver screen.

Uttam Kumar’s films were based on rich literature including Tagore’s Khokababur Protyaborton, Subodh Ghosh’s Suno Bara Nari, Samaresh Bose’s Kuhak, Sorodindu Bondhopadyay’s Chiriakhana, Shankar’s Chourangi. The films were related to different types of stories including comedy stories, tragic stories, soft romantic stories, etc.

Uttam Kumar had acted in around 205 films (including bollywood films like Amanush, Anand Ashram, Choti Si Mulakat, Dooriyan, Kitaab etc., ) in a span of 35 years, and all his films had remained everlasting treasures.

Even the singers who had sung for him including Manna Dey, Shyamal Mitra, Hemanta Mukherjee, etc., agreed that they did not find any actor who was parallel to Uttam Kumar in giving lips in songs. He made the viewers feel that he only sang the songs.

Articles after articles can be devoted to Uttam Kumar who was one –man –industry in Bengali films. His films should be revisited to create motivation for making better quality films in future.

Chabi Biswas in Ajoy Kar's films.

Chabi Biswas in Ajoy Kar’s films.

Chabi Biswas, the greatest actor of Bengali cinema had shaped the destiny of renowned directors of the golden age including Satyajit Ray, Hritwik Ghatak, Tapan Sinha and others. Ajoy Kar learned photography from abroad and used the talents of the leading actors and actresses of celluloid with style.

Ajoy Kar had a great admiration for the legendary actor Chabi Biswas whose dignified appearance created a special dimension in silver screen. In Ajoy Kar’s epic film Saptapadi, Chabi Biswas played the role of the father of the central character Krishnendu Mukherjee that was played by Uttam Kumar. Uttam Kumar entered into an affair with Rina Brown, an Anglo Indian Christian character played by Suchitra Sen in the film.

Ajoy Kar displayed the social barriers that were led down in the marriage between two communities during the age of orthodox people. Chabi Biswas was an orthodox Brahmin and a devotee of Goddess Kali. He could not accept the transformation of Uttam Kumar from a Hindu to a Christian for marrying Suchitra Sen. He came to Suchitra Sen’s house and explained to her that if Uttam Kumar would have married her he would have been isolated from his family, his neighbours, the society, as a whole.

Suchitra Sen promised Chabi Biswas that she would leave Uttam Kumar and never meet him in her life. Uttam Kumar converted himself to Christian, became a doctor and never got a scope of marrying Suchitra Sen. At the end of the film when Suchitra Sen was injured due to bombing during second world war, Uttam Kumar while treating her, showed the letter written by Chabi Biswas where he realized that the way she sacrificed her life it was possible only from a noble soul and the criteria of good or bad lied in human soul, not religion, or caste, or creed, which were created by human being.

The astounding personality of Chabi Biswas converted the romantic film into a cine-classic which has been displayed a number of times in Film Institute in Pune, where Ajoy Kar trained young directors during the 70s, in the art of film making. It was one of the greatest blockbusters and remains one of the greatest Bengali films ever made by any director.

Whenever Chabi Biswas played any memorable character, the character was memorized by the audience for generations. It happened in Ajoy Kar’s film Suno Boro Nari.

Chabi Biswas played the role of an eminent barrister in the film with the name of Charu Babu of the firm titled “Udashin”. He was the father of Supriya Choudhury, and asked Uttam Kumar to reach her to Giridih where she was engaged with Dipak Mukherjee, a rich industrialist.

Supriya Choudhury communicated with Uttam Kumar during the train journey from Patna to Giridih, a number of times and entered into an affair with him. Due to that relationship the marriage got hauled up and Chabi Biswas wanted Uttam Kumar to leave Giridih. He wrote a letter and disclosed his identity of a Professor of Literature who had left Kolkata and settled in Giridih due to a past relationship which could not mature into marriage. Uttam Kumar boarded a train to leave Giridih when Supriya Choudhury entered the train after abandoning all her ties with her family. But the aristocracy of Chabi Biswas was reflected all along the film. The film was based on the literature of Subodh Ghosh and the classic literature was transformed into a classic film.

The unfortunate demise of Chabi Biswas in a road accident in 1962, ended the dream combination of Chabi Biswas with Ajoy Kar, and the viewers could not see him in classic films in the following period like Sat Pake Bandha, Dutta, etc. The films should be preserved and shown in the film and television institutes of the country.