Archive for the ‘Documentary Films’ Category

Kono Ek Meye-Bengali Short Film by Indranil Banerjee: A Look

Monday, April 18th, 2011

April 18, 2011 (Calcutta Tube): Kono Ek Meye is a Bengali short film directed by Kolkata based independent filmmaker Indranil Banerjee with Sonali Chatterjee, Rituparna Biswas, Samrat Banerjee, Soumik Ranjan and others in the cast.

Indranil has made two documentary films and one short film so far. One of his documentaries titled “Shikar Utsav” has been selected for CMS Vatavaran last year and many other festivals.

Indranil is currently working in IBM India as a media designer and has recently completed ‘Kono Ek Meye’, his first short fiction of 30 minutes as writer-director.

Speaking about the challenges faced by short filmmakers, Indranil says, “The problems faced by short film makers anywhere in the country are not unknown to anyone. Frankly speaking, there is no scene for short films in India. Students, who are studying various aspects of filmmaking, make few short films as their projects. Rest who are interested to make short films; don’t know what to do after making the film.”

Regarding his current film ‘Kono Ek Meye’ the filmmaker shares, “It is a Bengali film, which is very much offbeat and the screenplay and making are also a bit different from the regular mainstream procedure. It will approach to every individual and they will feel the presence of this relationship through them.”

Indranil plans to take his film to different film festivals in India.

Kono Ek Meye  – Bengali Short Film


“The human race has made a rapid progress through the history, from living in a cave to space walk, from dark ages to renaissance, from illiteracy to computer age. However, through all these changes one fact has not changed at all and that is cruelty to women. Women have been subjects of atrocity by superstitions, religions, traditions and male egos.

Women need to think highly about themselves, respect their nature and gender and shed the old images of women and make a new, respected entity of their own.”

Any solution?

A girl has born in a middle class family, an astrologer who is a family advisor and’ tantric’, was called to bless her, and from as early as her six years of age, were mistreated and used as sexual beings by her one and only uncle, her mother’s only brother, whom she trusted the most. She dreams of something very scary and mother took her to the astrologer. Astrologer advised her and told her to be more careful.

When she was in her teens, she loved a boy who after their strong relationship, proposed her for separation. She again felt lonely and helpless in this cruel world. She went to the astrologer and the astrologer again gave some advice and shown sympathy. She dreams about her sexual relationship with the boy but suddenly she sees her uncle with her on bed. She wakes up and the transition takes her to a middle aged girl who is already married now.

She now works in a private company and faces several dirty looks inside office from her colleagues. When she returns home, four street boys sit just beside her house everyday and chat, passes nasty comments on her. One day her office boss directly offers her to spend more time with him after office or in weekdays, to give him company. She was shocked and at night when she tries to express her feelings to her husband, she is raped by her husband, without her consent. When she wakes up one night with a dream, she again goes to an astrologer. Now the astrologer is shown and she questioned him why a woman in the society is always taken as a subject of sexual pleasure. Nobody ever cared about the pain and agony of a woman. Why all people behave like dogs to a woman. Finally the astrologer told her that she has a hidden power which creates this entire problem. He told her that in the next dark, she should come to her temple and they will meet. He also offered her doing sex with him, as a result, there will be a transformation of power from her to the astrologer, and the astrologer will be the most powerful saint in the world and she will get relief from every pain. Now she is totally down and depressed. While returning home, she saw those four boys were sitting and laughing in the same way. She feels very scary everyday to enter the lane but today she approached to them, and without them she saw as if her uncle, boyfriend, office boss and the astrologer is sitting. This was the protest against the society, her approach and felt this is the only way out.

Complete Gallery

Kono Ek Meye-Bengali Short Film

Director’s Note

I could have kept the three stories parallel, but bridged in-between in a chronological manner and it is the exact treatment what this film demands.  Still, the three has no link in-between, as three phases are mostly individual in style, treatment, time, drama and flavor. This may be considered as a story of a girl or three different stories of three individuals. The three story does not represent any given time or situation. It’s a direct approach and message in its own dramatic way. As the plot thickens through constant breaks of the hackneyed chronological way of storytelling, the jump cuts, fades and dissolves exercise the intellect of the audience who are kept on the edge of their seats as they care and compare.

This is a movie of a new way of representation for visual and mental relief, yet sticking to the subject without making it much confusing, a process of going back and forth with proper tuning and rhythm.

Cast & Crew:

Sonali Chatterjee

Rituparna Biswas

Samrat Banerjee

Soumik Ranjan

Arun Chakraborty

Proloy Sengupta

Adrika Banerjee – child artist


Cinematography – Siddhartha Dey

Editor – Ujjwal Mukherjee

Music Director – Tapan Sinha

Song – Nazrul song

Singer – Nupur

Production Manager – Sambhu Munshi

Chief Assistant Director – Sudip Nag

Story, Screenplay, Concept, Direction – Indranil Banerjee


150 Raibik Path-Tripura first documentary film on Tagore gets national recognition

Friday, January 7th, 2011

Agartala, Jan 7 (Calcutta Tube) Tripura’s first documentary film – ’150 Raibik Path’ – made on the life and ideals of Nobel laureate Rabindranth Tagore has been conferred national recognition by a screening committee, an official release said Wednesday.

The screening committee was headed by renowned film-maker Shyam Benegal.

‘A screening committee under the chairmanship of Shyam Benegal recently picked ’150 Raibik Path’ and recommended it for national screening by Doordarshan,’ a Press Information Bureau (PIB) release here said.

The release said: ‘To celebrate the 150th birth anniversary of Tagore in a befitting manner, a national committee headed by Prime Minister Manmohan Singh and a National Implementation Committee (NIC) led by Finance Minister Pranab Mukherjee were constituted. In pursuance of NIC, the screening committee selected 9 Films and documentaries on Rabindranath Tagore including ’150 Raibik Path’.’

The film was made by young Tripura journalist Sitangshu Ranjan De.

‘Through this film I have tried to show that Tagore is relevant even today through creation of a collage of various facets of Tagore,’ De told IANS.

He said: ‘In the course of this 90-minute film, I have tried to answer many questions on ideals of Tagore through a collection of paintings, pictures, interviews, snippets from other documentaries and movies.’

‘The film is also a tribute to the great poet who had visited Tripura seven times between 1899 and 1926,’ De said.

Documentary film on Rabindranath Tagore’s East Bengal roots

Tuesday, October 26th, 2010

Dhaka, Oct 26 (Calcutta Tube) A documentary that traces the roots of India’s Nobel laureate Rabindranath Tagore in then East Bengal, now Bangladesh, will be released simultaneously in both countries as part of the poet’s 150th birth anniversary celebration.

‘Bangladesh-e Rabindranath: Poth Chawatei Anondo’ will be released in Dhaka and Kolkata in December, The Daily Star reported on its website Tuesday.

‘Rabindranth’s exposure to East Bengal made him a complete poet, philosopher and a human, rather than an urbane poet of Kolkata,’ says Chanchal Khan, noted Bangladeshi singer and director of the film.

The film features places like Shilaidaha, Shahjadpur and Patisar in Bangladesh where the Tagore family had owned properties. He lived there for a long time and created some of his masterpieces.

The film has a musical score by Khan and narrated by Rokeya Prachi. The film derives its strength from the research by Ahmed Rafique, an expert on Tagore.

The documentary will have ‘historical, archival and educational value, especially for those who have little or no knowledge of Rabindranath’s enormous contribution to music, literature and rural development whilst in Bangladesh 1890-1937,’ says Khan.

It was filmed by cinematographer Janesar Osman in locations where Tagore had spent ample time.

Elements of the documentary includes nine songs by seasoned and upcoming singers. The songs were composed by Tagore while he was in Shilaidaha, Shahjadpur and Patisar.

The film also provides glimpses of a play based on one of his short stories and interviews of noted personalities.

Bhaswar Bandopadhyay and Dahlia Ahmed’s narration, as well as Asaduzzaman Noor’s recitation of ‘Sonar Tari’ make the documentary special.

Khan said he hopes to have the documentary subtitled in English for non-Bengali viewers.

Filmmaker GAURAV PANDEY talks about SHUKNO LANKA Bengali Film

Thursday, September 30th, 2010

Shukno Lanka Bengali Movie
Shukno Lanka Bengali Movie

September 30, 2010, KOLKATA (Calcutta Tube): Gaurav Pandey’s Bengali Movie Shukno Lanka is a big commercial hit. It is perhaps the only Indian film to feature a junior artiste as the central protagonist in a film other than Tamanna made under the Mahesh Bhatt banner some years ago. Pandey’s first film Stumped (2003) starring Raveena Tandon, was not a commercial hit but it was a very meaningful take on the contemporary Indian’s obsession for cricket. The film explores the cricket fever that spreads across all Indians including those who cannot afford to attend the World Cup but try to draw vicarious joy through cricket played with equal frenzy within the housing cooperative they reside in. It did was panned positively by critics. Shukno Lanka is his second directorial venture. He opens out in a brief tête-à-tête.

What inspired you to make a junior artiste the central character?
Satyajit Ray’s Parash Pathar was the trigger to make Shukno Lanka. To be more specific, it was the character played by Tulsi Chakraborty. I feel Chinu Nandy of Shukno Lanka is a more contemporary version of the same character. Chinu lives across Howrah but he journeys to the studios by tram. The character Tulsi played in Parash Pathar also travels by tram. I have mentioned the name of Ray’s film because I did not want to hide the inspiration for my film.

[ReviewAZON asin="B0044FDPA4" display="inlinepost"]Why make the hero a person who remains on the fringes of the glamour and the chutzpah of the film industry?
I think the phrase ‘junior artiste’ is a state of mind. These actors who played bit roles were earlier called ‘extras.’ Someone felt it demeaning to their status and the word was replaced with the term ‘junior artiste.’ But the change in the label has not in any way changed their status quo within the industry. If you come down to it, there is basically no difference between a peon and a junior artiste, or, say, a rickshawallah and a junior artiste. There is this basic human greed in every person to show his/her face on screen. The junior artiste is closer to this than the peon or the rickshawallah. A junior artiste knows that he will perhaps never be able to make it big. But the greed, the hunger remains and he remains trapped in his marginalized world.

What made you nail down Mithun Chakraborty, one of the top stars of Indian cinema, to play Chinu Nandy?
Every Indian actor except the Khans in Mumbai or the sons of film celebrities has gone through this stage of once having been a junior artiste. Mithun has gone through this struggle too. So, his being a top star did not make any difference. One major reason that clinched my choice is his body language that is something no director can teach a star or an actor. It has to come from within. Mithun has it within him. He did not have the time to attend my workshops. But when he came, he actually fed me with the back story on Chinu Nandy. I could hardly have asked for more.
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