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Topic: Ritwik Ghatak

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	Her Mother's Son: Kinship and History in Ritwik Ghatak
		Ghatak expressed deep admiration for the first two films of the trilogy, Pather Panchali (1955) and Aparajito (1956), but even with Pather Panchali, Apu's movement away from the village at the end bothered him, he found it lacking in depth, that ‘the wanderer's generous melody’ was absent in that ending.
		Ghatak's solitude should be a challenge to the critic, not least because it cautions us against using his example as one of questioning modern modes from the side of tradition as is sometimes done.
		Ghatak's melodramatic turn was truly scandalous; he followed the logic of the form to its end so that, by stepping into the enclosure of primal bonds, the kernel of resistance to the individual's ‘development’, one could produce the most acute observations of historical processes.
	www.rouge.com.au /3/ghatak.html (5737 words)

	Ritwik Ghatak (Site not responding. Last check: 2007-11-05)
		It is one of life's greatest ironies that Ritwik Ghatak who is today something of a cult figure in Bengal was so little understood and appreciated during his lifetime.
		By and large Ghatak's films revolve around two central themes: the experience of being uprooted from the idyllic rural milieu of East Bengal and the cultural trauma of the partition of 1947.
		Ghatak's first film was Nagrik (1952) about a young man's search for a job and the erosion of his optimism and idealism as his family sinks into abject poverty and his love affair too turns sour.
	www.upperstall.com /people/ghatak.html (576 words)

	Films of Ritwik Ghatak by Erin O'Donnell 1
		In 1951, Ghatak was commissioned by the Provincial Draft Preparatory Committee of IPTA to draft a document that would articulate the political and cultural ideology of IPTA in West Bengal.
		Ghatak spent his entire artistic life wrestling with the consequences of Partition: particularly the insecurity and anxiety engendered by the homelessness of the refugees of Bengal.[13] In his films, he tries to convey how Partition struck at the roots of Bengali culture.
		Ghatak’s “families” are often not the traditional extended Bengali family, but “alternative,” “surrogate” families, like the theatrical troupe in Komal Gandhar or the wandering group of misfits in Jukti Takko Ar Gappo (Arguments and a Story, 1974), who are displaced, urban, lower middle class refugees searching for a home.
	www.ejumpcut.org /archive/jc47.2005/ghatak/index.html (1628 words)

	Ritwik Ghatak - Wikipedia, the free encyclopedia (via CobWeb/3.1 planetlab2.cs.virginia.edu) (Site not responding. Last check: 2007-11-05)
		Ritwik Ghatak (Bengali: ঋত্বিক ঘটক, Rittik Ghotok) (November 4, 1925 – February 6, 1976) was a Bengali Indian writer and filmmaker.
		Ghatak's early work sought theatrical and literary precedent in bringing together a documentary realism, a remarkable stylized performance often drawn from the folk theatre, and a Brechtian use of the filmic apparatus.
		His elder brother Manish Ghatak was an acclaimed radical writer of his time, a professor of English and a social activist who was deeply involved with IPTA theatre movement in its heyday and later on headed the famous Tebhaga andolan of North Bengal.
	en.wikipedia.org.cob-web.org:8888 /wiki/Ritwik_Ghatak (722 words)

	Habitat Film Club - News Letter - March 2004 - Ritwik Ghatak (1925 - 1976) (Site not responding. Last check: 2007-11-05)
		Ghatak's inventive and path - breaking films like Ajantrik and Meghe Dhaka Tara are the true precursors of the new cinematic practice in India.
		Ghatak often described Meghe Dhaka Tara as an "ambitious" film because he was working on an "universal theme".
		Ritwik Ghatak died in Feburary 1976 at the age of fifty.
	www.habitatfilmclub.com /newsarchive/march04_ritwikghatak.asp (507 words)

	Ritwik Ghatak
		Ghatak, it seems, is in fact well aware of this: “I have seen such men (I have had the doubtful pleasure of meeting Bimal himself in real life) and have been able to believe in their emotions” (11).
		It seems that despite Ghatak's claim to have been drawn to the cinema by the size of the audience he could reach, as Satyajit Ray has noted, “Ritwik had the misfortune to be largely ignored by the Bengali film public in his lifetime” (36).
		Ghatak was an influential lecturer and vice principal at the Film and Television Institute of India (FTII) in Pune from 1966 to 1967.
	www.sensesofcinema.com /contents/directors/03/ghatak.html (6904 words)

	Art (Site not responding. Last check: 2007-11-05)
		A native of East Bengal, Ghatak was shattered by the partition of that "orphan state" (later to become Bangladesh).
		As a result of that his stories and images are permeated with the personal urgency he felt for the people whose lives and culture were irreparably ruptured.
		Ghatak was a complex man who was much loved by his students but was viewed by the film establishment as an eccentric iconoclast; he died a chronic alcoholic at the age of 49.
	cc.1asphost.com /macOnTouch/ethnic/Ritwik.asp (230 words)

	Ritwik Ghatak
		Ritwik Ghatak presents a visually sublime, idiosyncratically overripe, but provocative and deeply personal account of poverty, disillusionment, and exile in The Cloud-Capped Star.
		Ritwik Ghatak characteristically integrates visual economy, stylized camerawork, and idiosyncratic lyricism through allusive, traditional folk songs, cyclical environmental (and existential) phenomena, and exaggerated natural rhythms and diegetic sounds that illustrate the inherent correlation between landscape and human ritual (fishing activity, tribal customs, and ceremonial festivals).
		Marking the final film by Ritwik Ghatak, Reason, Debate and a Story poignantly (and provocatively) encapsulates the recurring, overarching themes that have come to define the filmmaker's passionate and indelible cinema: dislocation, exile, factionalism, division, cultural dissolution.
	www.filmref.com /directors/dirpages/ghatak.html (823 words)

	HardNews - Autumn of the maestro
		Ghatak was preoccupied with two themes: the experience of being uprooted from the idyllic rural milieu of East Bengal, and the cultural trauma of Partition.
		Temperamentally different from Ray's Apu Trilogy, Ghatak's Meghe Dhaka Tara (The Cloud-Hidden Star, 1960), said to be his best film and the first in a trilogy that examined the socioeconomic implications of Partition through a portrayal of the travails of a displaced middleclass East Bengal family in Calcutta, was a remarkable addition to Indian cinema.
		Ghatak is "interstitial", first because he had to struggle constantly to obtain funding and equipment to create the kind of films he wanted, "largely outside of the Calcutta and Bombay film studio systems", and, second, because his films' subject matter and style were often "astride" Indian popular and Bengali art cinemas.
	www.hardnewsmedia.com /may05/legends.php (1306 words)

	India Today Magazine (Site not responding. Last check: 2007-11-05)
		That is the quintessential Ritwik Ghatak, perennially discontented and in a hurry to hurtle himself into the future.
		Ritwik Ghatak had once said, "I am not an artiste, nor am I a cinema artiste." For him, literature, like cinema in the later phase of his life, was just a means to reach out to the masses.
		Ghatak uses melodrama in his writing, in the same way that he used songs in his films.
	www.india-today.com /itoday/20001218/books4.shtml (730 words)

	The Hindu : Transcending language barrier
		THE EIGHT-DAY long Ritwik Ghatak retrospective (July 31 to Aug. 7) organised by the Centre for Environment Planning and Technology (CEPT) in the commercial city of Ahmedabad was not really a runaway success, but it certainly rekindled interest in the late film-maker among a generation naturally prone to suffix Roshan with such a first name.
		The inimitable Ghatak symbolism is visible when a bunch of water hyacinth drifts afloat from the foreground and occupies mid- screen as soon as the boy is left behind on the river bank by the fishermen's boats.
		In a nutshell, the Ritwik Ghatak retrospective in Ahmedabad proved to be a welcome break from the unnatural fantasies and pulled back the audience for some time to the realities of life in all its manifestations.
	www.hindu.com /thehindu/2001/08/17/stories/09170227.htm (562 words)

	Indian Cinema Database: Ritwik Ghatak (Site not responding. Last check: 2007-11-05)
		Ritwik Ghatak, a refugee from East Bengal (now Bangladesh), shattered by the traumas of partition reflected his sorrow borne out of witnessing the biggest man-made tragedy in human history, the Indian partition.
		Ritwik Ghatak's films influenced a whole new generation of film makers like Adoor Gopalakrishnan, John Abraham, Mani Kaul, Kumar Sahani and Ketan Mehta - the names synonymous with the Indian New Wave cinema.
		Ghatak's last film featured himself as the drunken and spent intellectual, Neelkantha who goes on a picaresque journey through Bengal to reconcile himself with his wife.
	www.chaosmag.net /ghatak.html (1174 words)

	Rediff On The NeT, Movies: Remembering Ritwik Ghatak
		Ghatak was unlucky because Nagarik was not released during his entire lifetime.
		Ghatak claimed Nagarik was a political statement which analysed the agonies of a middle-class family in Calcutta engaged in a grim struggle with oppressive social forces.
		In Ritwik Ghatak: A Return to the Epic (1983), Ashish Rajadhyaksha wrote, "The initial question of the split of Bengal was to become for him a larger quest -- an attempt at portraying the relationships between the new classes formed by the process of urbanisation and the machine-revolution and their old traditions.
	www.rediff.com /entertai/2000/feb/16ghatak.htm (1759 words)

	BFI \| Books & DVDs \| DVDs & Videos \| Ritwik Ghatak Films: A River Called Titas (Site not responding. Last check: 2007-11-05)
		Overwhelmed by the changes in his native land, Ghatak made this, his penultimate feature film, as a grim recognition of the inevitability of change and the terrible cyclical power of loss and resurrection.
		As Ghatak unfolds the tragic tale of a couple separated by a kidnapping, he also delivers a lyrical account of the speech, rhythms and rituals of a Malo fishing community.
		It is perhaps Ghatak's most ambitious project - a raw and powerful tale of a drying river and a dying culture.
	www.bfi.org.uk /booksvideo/video/details/ghatak/titas.html (199 words)

	New York State Writers Institute - Film Notes (Site not responding. Last check: 2007-11-05)
		Ghatak’s love for his characters, his crisp visual compositions, and his assured grasp of editing techniques (just what you’d expect from a man who idealized Eisenstein) make this an enduring and compassionate work.
		Ritwik Ghatak (1925-1976) was one of the greatest and most innovative filmmakers India has produced.
		Ghatak’s drinking was largely the result of his despair as he sensed that Partition was not just a political calamity, but a social and cultural one too.
	www.albany.edu /writers-inst/fnf03n2.html (993 words)

	National Gallery of Art - Film Series: India in Focus: Homage to Eric Barnouw
		Although he died at the age of fifty, Ritwik Ghatak's eclectic contributions were critical to postwar art and cinema.
		Ritwik Ghatak's awareness of life's breakdown for Bengali refugees is at the core of The Cloud-Capped Star.
		It is Ghatak who manipulates the melodrama, a dark family portrait with many levels of meaning"(Ritwik Ghatak, 1960, Bengali with English subtitles, 126 minutes).
	www.nga.gov /programs/filmindia.shtm (318 words)

	Camp Catatonia: Ritwik Ghatak (1925-1976)
		Ghatak, by contrast, is an undesirable guest: he lacks respect, has “views,” makes a mess, disdains decorum.
		Viewing Ghatak is an edgy, intimate experience, an engagement with a brilliantly erratic intelligence in an atmosphere of inquiry, experimentation, and disconcerting honesty.
		Interviews with Ritwik Ghatak, Biographical sketch, A tribute to Ritwik Ghatak.
	campcatatonia.org /article/523 (838 words)

	Ghatak Ritwik - Search Results - ninemsn Encarta
		Ghatak Ritwik - Search Results - ninemsn Encarta
		Ghatak, Ritwik (1925-1976), Indian film director, maker of startlingly original films of tormented intensity.
		He was born in Dhaka in what was then...
	au.encarta.msn.com /Ghatak_Ritwik.html (48 words)

	culturebase.net \| The international artist database \| Ritwik Ghatak (Site not responding. Last check: 2007-11-05)
		Ritwik Ghatak (born 1925), avantgarde film-maker, was associated with many of the key stage and film productions of the left-wing Indian People’s Theatre Association (IPTA).
		His own first effort, Nagarik (1951, released 1977), while of the genre of agit-prop social realism, exhibits a concern with shot scale, disjointed cutting and an alertness to the powers of the sound-track, that are explored in subsequent work.
		Ghatak became vice principal of the Film and Television Institute of India, Pune, where he exercised a major influence on early alumni: Kumar Shahani, Mani Kaul and John Abraham.
	www.culturebase.net /artist.php?1390 (207 words)

	rediff.com, Movies: Ghatak see this!
		is an earnest attempt to understand a phenomenon called Ritwik Ghatak, one of the greatest Bengali filmmaker of the 60s and 70s.
		Director Anup Singh uses Ghatak's trademark style -- docu-drama narrative style to tell his tale as the visuals transport the viewer to the imaginary universe of Ghatak cinema.
		The film is revolves around the journey of two actors, one male, the other female, as they cross rivers and borders and make their way through city and history, forest and memory, mountain and myth.
	www.rediff.com /entertai/2001/dec/07riv.htm (256 words)

	Meghe Dhaka Tara (1960) (Site not responding. Last check: 2007-11-05)
		An active Marxist who began his career in the Communist People's Theater, Ghatak's films never achieved widespread popularity but he is now considered to be one of the top Indian directors of the last half of the 20th century.
		Ghatak's inspiration for the character was a woman he saw at a bus stop whose beaten down appearance struck him as being typical of Bengali refugees.
		Ghatak's raw passion and compelling characters make it easy to overlook its flaws and the result is a tribute to the human spirit and a deeper understanding of the tragedy that partition brought to India.
	www.imdb.com /title/tt0054073 (625 words)

	Meghe Dhaka Tara
		Ghatak, Ritaban, and Satyajit Ray, editors, Cinema and I, Calcutta, 1987.
		The film, therefore, addresses the question of nationality mainly within the modes of memory and melodic excess and disavows a direct referentiality and, hence, a rhetoric of identity.
		The theme of partition and cultural split and the schism within the Indian Left and its cultural wing IPTA (the Indian People's Theatre Association) was at the core of all three films.
	www.filmreference.com /Films-Ma-Me/Meghe-Dhaka-Tara.html (1196 words)

	Netguruindia News (Site not responding. Last check: 2007-11-05)
		November 18: Renowned film-maker of yesteryears, Ritwik Ghatak, will be remembered on his 75th birth anniversary in New Delhi through a book launch, an exhibition and a series of screenings.
		The event is an attempt to pay an honourable tribute to one of the greatest film-makers of the world, whose tragic and untimely death brought to an abrupt end a promising film career.
		Ghatak, who was the principal of the Film and Television Institute of India, Pune, in the 1960s, had a small but dedicated following amongst film buffs and film-makers.
	www.netguruindia.com /news/Nov00/19/NAT10.html (294 words)

	DVD Times - A River Called Titas (Site not responding. Last check: 2007-11-05)
		For such a driven, fiercely passionate director, Ritwik Ghatak’s cinematic career was surprisingly unprolific, producing only nine films before his death in 1976 of which A River Called Titas was the eighth.
		Taken from an autobiographical novel by Advaita Malla Barman (adapted by Ghatak himself), it begins as a relatively small-scale tale of the tragedies that befall a mother and her son before digressing via a number of loosely connected episodes into the equally tragic tale of a fishing community at large.
		That Ghatak tends only to use these techniques at major dramatic moments also works in the film’s favour as it is doubtful that his performers could achieve the required results from a more realist standpoint.
	www.dvdtimes.co.uk /content.php?contentid=55644 (1296 words)

	3rd I's First South Asian Film Festival
		Since his untimely death in 1976, Ritwik Ghatak has come to be regarded as one of the greatest and most influential directors of Indian independent cinema.
		Satyajit Ray wrote, '"Ritwik was one of the few truly original talents of cinema" Jukti Takko Aar Gappois is the most autobiographical and allegorical of all Ritwik's films.
		Ghatak's experimental style, manifests the deep emotional tensions weighing upon his characters and the trajectories of their lives.
	www.thirdi.org /festival/2004/film/jukti.htm (254 words)

	Desicritics.org: Movie Review: Meghe Dhaka Tara (The Cloud Capped Star) (Site not responding. Last check: 2007-11-05)
		In the process of probing into my roots in Bengali culture, I ran into the films of Ritwik Ghatak who has come to be regarded as one of the greatest directors of Indian independent film.
		Ghatak's experimental style manifests the deep tensions weighing on his characters from various directions.
		Ghatak, who is said to have developed his own style of cinema, saw very little commercial success and little critical acclaim in his life time.
	desicritics.org /2006/06/01/001657.php (983 words)

	Ritwik Ghatak (Site not responding. Last check: 2007-11-05)
		Influenced by the films of the master filmmaker, Eisenstein, Ritwik Ghatak made politically radical films.
		It was after his untimely death as a chronic alcoholic in 1975, critics of India started noticing his brilliant films.
		Ritwik Ghatak's films influenced a new generation of film makers like Adoor Gopalakrishnan, John Abraham, Mani Kaul, Kumar Sahani and Kethan Metha, the names synonymous with Indian new wave cinema.
	www.cinemaofmalayalam.net /ritwik.html (173 words)

	The Daily Star Web Edition Vol. 5 Num 142 (Site not responding. Last check: 2007-11-05)
		Bangladesh Federation of Film Societies (BFFS) organised the première show of the film that focuses on the acclaimed filmmaker Ritwik Ghatak and his philosophy of cinema at the BIAM auditorium on October 12.
		Through the images of two refugees--a young man and a woman--in quest of a permanent home, the documentary unfolds the different phases of life of Ritwik Ghatak.
		Anup's film is a rich treasure trove of reminiscences of the veteran filmmaker: dialogues, soundtracks and situations from the films of Ritwik recur as leitmotifs.
	www.thedailystar.net /2004/10/14/d410141402104.htm (363 words)

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