It is based on Rabindranath Tagore 's last novel by the same name, written in The film is set in the late Bengali Renaissance of the s and s, and a group of young intellectuals and revolutionaries involved with the Indian independence movement. It deals with the impact of political issues on personal lives and questions blind nationalism and blind adherence to a leader and delves into the ugly face of idealism. Most of the cast included non-actors, Nandini Ghosal was an Odissi dancer a disciple of Guru Kelucharan Mahapatra , Kaushik Gopal was a psychoanalyst, while Sumanto Chattopadhyay worked in advertising and acted in theatre. From Wikipedia, the free encyclopedia.

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Jump to navigation. Holy cows you don't mess with, legends you don't add postscripts to. When Tagore's uncharacteristic novel Char Adhyay Four Chapters was published in , it created ripples: he had questioned blind nationalism and blind adherence to a leader. The British used the novel against the nationalist movement, other forms of political activity and the poet himself.

And, after Independence, critics of Tagore used the novel against him. But then, everything was shelved. The novel relegated to the fine print of Tagore's literary legacy, recalled rarely by only the cognoscenti.

Kumar Shahani's disturbing and eloquently constructed new film, which has been produced by the National Film Development Corporation and Doordarshan, awakens the old ghosts and is bound to create ripples again. The leader of this small group of young freedom fighters interestingly, Shahani has cast psychoanalyst Kaushik Gopal in the role is a chilling character, almost in the mode of Tom Courtney in David Lean's Dr Zhivago with the undercurrent of repressed desire making his uni-dimensional commitment to the cause all the more frightening.

The ugly face of idealism. At the epicentre of the film is the young woman Nandini Ghosal , whom the leader uses as a conduit for his writings and views. She is supposed to be the embodiment of the mother or sister for the rest of the members of this militant group, occasionally seen shooting the representatives of the British government. The other protagonist is the handsome and rich young man Sumant Chattopadhyay , who is drawn into the movement because he is attracted to her, but questions the fundamentals of the movement.

Shahani was drawn by Tagore's very different ideas about nationalism. Many like Shahani consider it the breakdown of the novel. Nor does the film have a linear storyline. Tagore's descriptive passages are in the dialogues. And the director has been faithful to the novel: "My take-offs are in between the four chapters. Words come embodied as images of startling beauty and mystery. Both Tagore the poet and Tagore the painter appear to inhabit the film.

Tagore had begun to paint a few years before he wrote this book and the dialogues, especially of the young woman and man, often spring out of some dark unconscious state, the way Tagore's words materialised into doodles and later into forms and images.

There is something else at play here: an element of eroticism which is straining at the leash of all the beautiful imagery. In one of the exchanges between the couple, he tells her a woman is supposed to represent the nation, the mother, but what about the woman as a woman, as a lover? The film has the standard Shahani signature: those glances into mid-distance, an etherised dialogue, actors choreographed to the auteur's inner rhythms, layered meanings and a pace, which is often slow to the point of stillness.

But this time there is an underlying tension to the film, a coiled violence which gives it its dramatic thrust. Jaya Bachchan has provided the heroine a voice which not only lends gravity but almost becomes a character itself. Vanraj Bhatia's music fits like a glove. And Shahani is, as ever, the man pulling the strings behind the scenes: Ghosal is not an actress but an Odissi dancer, Guru Kellucharan Mahapatra's disciple, Gopal an analyst, and Chattopadhyay works in an ad agency and does some acting in theatre.

Char Adhyay: Tagore novel adaptation is set to create ripples A Tagore novel adaptation is set to create ripples. Nandini Ghosal and Sumant Chattopadhyay. Get real-time alerts and all the news on your phone with the all-new India Today app. Download from. Do You Like This Story? Now share the story.


Elar Char Adhyay

Char Adhyay Four Chapters , written by Rabindranath Tagore in , is a controversial novel and perhaps, the most challenging of all his work to place on celluloid. Nitish Mukherjee completed Char Adhyay in but it got released only now. So Tagore called Char Adhay a love story. The film explores both layers — the intense love between Ela Mallika Majumdar and Atin Debdoot Ghosh that draws Atin into the movement because Ela is already in it, and the political beliefs that lead them but get shaken over time. Mukherjee, a gifted artist and painter in his own right, chooses to emphasize on the deepening love of Ela for Atin alongside her disillusionment with Indranath and his selfish motives while Atin gets sucked into the movement so much that he moves away from Ela when Indranath commands him to. Mukherjee turns the screen into a rainbow of rich visual images accompanied by some of the rarest of Tagore songs on the music track.


Char Adhyay

Elar Char Adhyay,based on a Tagore novel, captures the ideals of the Bengal Renaissance of the s and '40s. A group of young revolutionaries, led by Indranath Indraneel Sengupta is fighting for Independence. Ela Paoli Dam , the group's emancipated muse feels disturbed by her love for Atin Vikram Chatterjee , who is drawn into the movement because he loves her deeply. His involvement slowly gets critical as he begins to questions Indranath's methodology that rules out love for a woman colleague. Indranath's 'punishments' differ from person to person.

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