Komal Gandhar - Bengali - Supriya Choudhury, Abanish Banerjee
ฝัง
- เผยแพร่เมื่อ 4 เม.ย. 2023
- Komal Gandhar, 1961
Director: Ritwik Ghatak
Music Director: Jyotirindra Moitra
Lyrics: Rabindranath Tagore, Jyotirindra Moitra, Salil Chowdhury, Bijan Bhattcharya, Sukanta Bhattacharya
Playback: Hemanga Biswas, Sumitra Sen, Bijon Bhattcharya, Jyotirindra Moitra, Montu Ghosh, Ratna Sarkar, Srijata Chakraborty, Ranendranarayan Roychowdhury, Chitra Mondal
Cast:
Supriya Choudhury ... Ansuya
Abanish Banerjee ... Bhrigu (as Abanish Bandyopadhyay)
Anil Chatterjee ... Rishi (as Anil Chattopadhyay)
Satindra Bhattacharya ... Shibnath
Chitra Mandal ... Jaya
Many thanks to ashok48393 from here on TH-cam who provided the source. Since it's not yet on TH-cam (why not, you might wonder?), I hope his efforts to provide it and my efforts to improve on the source slightly will be appreciated. Thanks, Ashok!
English subtitles included. Unfortunately, they were 'burned into' or 'hardcoded into' the source. They aren't selectable and are permanent.
The source was awful. Sometimes there are several seconds of a static screen, some from the source, some by me when the picture deteriorated too badly to fix. In addition, there were periods of video with large black bars above or below when the picture was 'shifted' too high or low. So, I removed the black bars and replaced it with a centered picture, but with blurry top and bottom. There are other places where the picture jumps and down uncontrollably, beyond my poor powers to fix it. And the makers of this travesty had the nerve to claim in a text screen before the film began that it had been 'restored'. That's a lie. it's just from a poor quality VHS tape badly digitized and converted to VCD.
The Encyclopedia of Indian Cinema says this about the film:
Ghatak’s innovatively filmed critique of both
the IPTA style of radical theatre and of Partition
caused a major political controversy in Bengal,
apparently prompting the director to look for
work outside the state. Set in the contentious
50s, the film’s plot is structured around the
rivalry of two radical theatre groups. One is led
by Bhrigu (A. Bannerjee), the other by Shanta
(G. De), while Shanta’s niece Ansuya
(S. Choudhury) participates in Bhrigu’s work to
the disapproval of her own group. When the
two groups join together for a production of
Shakuntala (Tagore’s version of the story
functioning as a constant reference within the
film), Shanta deliberately sabotages it. Bhrigu
and Ansuya discover they are both refugees
separated from their country (Bangladesh) by a
river and they fall in love. Eventually Ansuya,
scheduled to marry Samar and move to France,
decides to stay with Bhrigu. As in Ghatak’s
earlier Meghe Dhaka Tara (1960), the story is
interrupted by sound effects including ancient
marriage songs, sounds of gunshots and sirens.
Music and sound effects mark particularly
emotive political moments, as in one of the
film’s classic shots: a tracking movement along
a disused railway ending abruptly at the
national border with a fishermen’s chant rising
to a powerful crescendo. Appropriately for a
film dealing with both political and
geographical division, the most intense
interactions of sound and image occur in
spaces which simultaneously divide and
connect, as in the aforementioned tracking shot
or in the 360-degree camera pans showing a
theatre group singing in boats on the river
Padma which marks the border between India
and Bangladesh. Spatial divisions are further
elaborated as a critique of the theatre groups
with their cramped and fragmented
proscenium spaces and cavernous rehearsal
rooms and the claustrophobic,
expressionistically lit urban scenes. The overall
effect, as noted by Kumar Shahani, is the
creation of a space-in-formation, a dynamic
though static-looking space animated by
history.
Here's a playlist of four of the main songs:
• Komal Gandhar - Bengal...
COPYRIGHT INFORMATION:
The Indian copyright law:
copyright.gov.in/Documents/Cop...
INDIAN COPYRIGHT ACT, 1957 CHAPTER I Preliminary (f)
"cinematograph film" means any work of visual recording on any medium produced through a process from which a moving image may be produced by any means and includes a sound recording accompanying such visual recording and cinematograph shall be construed as including any work produced by any process analogous to cinematography including video films.”
"CHAPTER V Term of Copyright 26.Term of copyright in cinematograph films.
In the case of a cinematograph film, copyright shall subsist until sixty years from the beginning of the calendar year next following the year in which the film is published."
My words:
Indian film copyright (including video, dialog, music, lyrics, songs) lasts for sixty years and any film and its songs released more than sixty years ago is in the public domain. No extensions, no renewals, no exceptions. This film is no longer protected by copyright. - บันเทิง
সম্ভবত আমার দেখা সেরা প্রেমের ছবি..প্রেমের ছবিই বললাম..আর যেভাবে দৃশ্যগুলো ধরা হয়েছে সাজানো হয়েছে আর বিশেষত পিছনে গণসংগীতের ব্যাবহার একরকম মিউজিক্যালের ঢংয়ে প্রায় অবিশ্বাস্য..এখন থেকে কিছুই শেখার নেই কারণ এ জিনিস শেখা অসম্ভব..একরাশ মুগ্ধতা শুধু..এক আলাদা নান্দনিকতা..আর হ্যা, রবীন্দ্রসঙ্গীতের সেরা ব্যাবহার বোধহয় এখানেই হয়েছে...
RITWIK DA WAS THE 👑SOVEREIGN PARAMOUNT OF INDIAN CINEMA 👑
As long as the bengali cinema survive this kind of Bengali cinema so called Masterpiece wouldn't have faded.
It is perhaps the only film by Ritwik Ghatak, which ends with an optimistic note. Here too, a brilliant use of Rabindrasangeet has been made, which adds to the surreal atmosphere of a moon_ lit night. Supriya Devi puts up a brilliant performance. So does Anil Chatterjee. And, in the ultimate analysis, the film remains a masterpiece of Bengali & Indian cinema.
দেখুন আমার মনে হয় এটা ঋত্বিক ঘটকের শ্রেষ্ঠতম সিনেমা, 'যুক্তি তক্কো আর গপ্পো' বাদ দিলে।
কতবার যে দেখেছি.....
many many thanks for bringing this classic here...🙏
ওহহহ The Debabrata Biswas এর ম্যাজিক। তাঁর অভিনয় এই প্রথম চাক্ষুশ করলাম। সত্যিই তিনি all time great..
প্রনাম হে সাধক জর্জ বিশ্বাস।
১৯৪৬ সালের দাঙ্গা, দেশ ভাগের স্মৃতি, পূর্ব বাংলার হিন্দুদের দেশ ত্যাগের কথা মনে করে দেয়।
অনেক কথা মনে করিয়ে দেয়, আমার দাদা ও তার পরিবার ভারত ছাড়তে বাধ্য হয়। আজ আমরা ভাগ্য চক্রে বাংলাদেশী।
Outstanding cinema...
It's a master piece of Mr. Rittik Kumar Ghatak.
অপূর্ব অসাধারণ বললেও কম বলা হয়।
Superb Ahead of It's time " Film
Many thanks for this upload. This is one of his best works and movie lovers should watch it. Now that's possible thanks to the efforts put in by you and Mr. Ashok🙏
You're welcome. It just became available again after being blocked by some criminals for a few days. In fact, seeing your comment alerted me to the fact it could be viewed. Yes, it's a fine film and an important one. Thank you for leaving your comment.
Wonderful 19th century.
Tokhon small pox hoto
Thank you so much Thomas sir ( as well as to Ashok sir ) for uploading this beautiful film of Ritwik Kumar Ghatak , one of the legendary directors of India . I was in dire search of this film for a long time . This & 'Meghe Dhaka Tara' (1960) are 2 of my favourite films of the director . Though Supriya Devi whose role as Neeta in 'Meghe Dhaka Tara' (1960) was much appreciated & remembered , I think her role as Anusuya in this film was equally good . She is my most favourite actress from Bengali Cinema . In an old interview , Supriya Devi had stated that the shooting of this film didn't take place in the conventional sense . Like suppose , Supriya Devi had gone to Darjeeling to meet her daughter ( who used to study there) & there she found him shooting for the film & all of a sudden , he asked her to come to a particular location to shoot for a particular scene . In other words , the shooting took place without any definite planning all of a sudden . In fact , Supriya Devi had also mentioned that the film didn't have any script or ready-made dialogues . This was one such instance . The whole film shooting took place in this manner . It's a pity that we lost such a talented director so soon . I appreciate your hard work & dedication for reviving these masterpieces . He was deeply affected by the partition of India , the grief of which he expressed in each of his films as a tragedy . Thank you sir for this nice input , regards . ❤🙏♥️😇
Oh, so you watch Bengali films also? A true Renaissance Man you are, Mr. Acharya. Yes, this is a very unusual film. But, then, it's the first film of Ghatak's I've seen. That was interesting what you wrote about his filming methods. I am also a fan of Supriya Choudhury's work and went looking for more of her films after working on and uploading Suno Baranari.
😊@@tommydan55
Masterpiece
Dedicated my daughter soha ajmin
FROM BANGLADESH KHULNA FIRST COMMENT
Personally, no other film touches me as much as Komal Gandhar
Old is gold ai sab chobi r kono din hobe na
5.40 AM. Thanks Tommydan for this gem
Thank you very much. For uploading one more Bengali movie on your channel. I want to watch any movie on your channel in digital version. 🙏🙏
You are doing an extraordinary work. These films are mostly not available in decent print anywhere in the web. Where they are, they are mostly damaged due to the cropped aspect ratio (some decided to restore it by cropping the images from 4:3 to 16:9). You are doing great work.
One small request - if you provide the year of the release of the film in the title, may be it will be better experience who wants to navigate from the long list of films. Thanks anyway.
Thank you for the kind words. Yes, almost all similar channels think that ruining the original aspect ratio improves the film. They're wrong. of course, but almost all - especially the Indian media companies - do it.
As for your request - I often put the year when there is more than one film with the same name. Otherwise I don't. But since all films are in the public domain, then they're all from 1962 or earlier. There can't be that problem with this film as there's no other film with this name and this is the only version on TH-cam (for now). The criminals that used to own it filed fraudulent copyright claims on the film, but they finally had to give up the false claims. You might notice, if you search on the film, that there's only this version. The former copyright owner has lots of songs and scenes, but no complete film. Why, you might wonder? Streaming. They removed it from TH-cam so you could pay to see it on some streaming service.
দারুন সুন্দর
thank you very much! do you think there will ever be a real restoration of this film, or at least a proper digitisation? being such a seminal work, one should think so, but I don't know..
I believe there has been, but not the source I used. For example, some of the scenes and songs from the film on another channel look good, except for the fact they ruined the aspect ratio and they have PAL speedup.
Edit: I take it back. Mine was from a VCD made from a VHS tape. Maybe their was made from a DVD made from a VHS tape. Not sure. But it has the same contrast problems I had, except I fixed them, pretty much.
It's too bad, though, as in my researches while working on the film some put director Ghatak on the same level as Satyajit Ray.
1:53:12 1:57:47
What a wonderful description, indeed! I entreat you to upload the first film of the trilogy, ' meghe daka taara' . Please!
বাংলা ভাগ কার জন্য
Lahore 1949 please
If you can
I wish I could, but I don't have it. I only have a single song from Lahore:
th-cam.com/video/pOSUel602pg/w-d-xo.html
Bangali Tumi dhonno " Bangla Tumi Dhonno "
Hey Ishwar Amake ashirwaad Den 🙏 Guru dev Apnara ashirwaad den
দোহাই আলী !! এর ব্যাখ্যা টা কি কেউ বলতে পারবে?
কমল গান্ধার কথার মানে কারো জানা আছে কি ?
কেন জানা থাকবে না!কোমল গান্ধার(কমল নয়) অর্থ -হিন্দুস্থানি শাস্ত্রীয় সঙ্গীতের সূর।
Komol ga