582:, a film so daring in its complete disregard of the very language and grammar of cinema he had mastered and developed that it is difficult to understand how it achieves its intense intimacy with the audience. It is as if the characters step out of the screen to talk to you and you are forced to respond to them, to react very sharply for or against them. The central character played by Ghatak himself parodies his real life in such a way that it compels the audience to reflect and criticise him. Perhaps this is just what Ritwik had been struggling to do through cinema all his life. Ironically, perhaps, he wanted to see that it could be achieved only through a conscious rejection of much of what has come to be accepted as the language of cinema." â
592:, the elements were presented in their new raw form â reason, argument, story, song that hunger which is the basis of human creativity. So that Ritwik calls himself a humbug a civilisation sees how it is reduced to ashes. Yet there was no nihilism; he dies pleading with those who would annihilate their compassion along with their enemy. Our heroism will find itself trapped in mechanical crossfire of gunpowder, if it refuses to nourish itself on nature and history. For Ritwik, the heroic act the ultimate and the first sacrifice, has to be the act of union."â
249:, with whom he discussed Marxist history and he described them as the "cream of Bengal" misguided, successful and unsuccessful at the same time. Then the police come and a shootout begins. Bagchi, after taking a bullet dies, saying "Do you remember Madan the weaver he used to say will I buy raw stock from the bourgeoisie? Betray all of you? By not working, I have become stiff so I weave without cotton, something has to be done".
245:. Jagannath's school was closed after political killings and he came to Kolkata in search of a job. He was harassed by the kids, as they called him mad he was always getting into arguments. Then they came to a village where Panchanan Ustad lived. He received them and Ustad and Jaggannath had frequent arguments creating a contrast between Vedic and Folk perspectives after Nilkantha met his wife. He went into a forest where he met
237:, an alcoholic, disillusioned intellectual, in the character's own words, "a broken intellectual". His wife leaves him, taking his books and records which were his only remaining property. When Bagchi objects, Durga replies that it is so that his son grows up with these books and music. However, he manages to keep a fan which he sells to buy country liquor to start his unusual and abstract journey.
241:
artists drinking at a remote place where they discuss art. He meets
Satyajit Basu, his friend who offers him Scotch, which he refuses. He asks for money to which Satyajit at once agrees and gives him a bunch of notes of which he took only one and then he said "Think Think practice thinking". He then meets Jagannath Bhattacharjee, a village school teacher of
258:
has been portrayed. There is no ideology. I saw it from a point of view of not a politician. I am not supposed to please a political ideology". Ghatak was aware of a complete breakdown of moral values around him, especially among the younger generation. He tried to portray these issues in this film (and also in his unfinished film
257:
The film deals with various ideas and themes. Set against the backdrop of the first
Naxalite wave of rebellion in India, the film is considered to be Ghatak's autobiographical film, an anti-climax. Ghatak himself explained, "In it the political backdrop of West Bengal from 1971 to 1972 as I saw it
240:
His first companion is
Nachiketa, a homeless woman who comes to his house just when he is about to leave. She is Bongobala, a woman who has lost her homeland, Bangladesh, and Bagchi describes himself as the spirit of Bangladesh, who was driven away from Bangladesh. He then comes across a band of
166:
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Nilkantha
Bagachi (character played by Ritwik Ghatak) is talking to Satyajit Basu (character played by Utpal Dutt). In this scene Bagchi is narrating that his life is wasted (like many others lives).
169:
31:
605:
2017: Ritwik Ghatak
Retrospective UK, at Dundee Contemporary Arts, Dundee, Scotland, UK, Programme curated by Sanghita Sen, Department of Film Studies, St Andrews University, UK
624:) included the film on their respective lists of "The Greatest Films of All Time", hence making it the 322nd best film according to the Director's poll (a rank it shares with
296:
Bagchi, his alter ego. Nilkantha is the name of Hindu god Shiva, who drank poison that emerged from the oceans to prevent it from destroying everything in the world.
270:
In an interview Ghatak mentioned that "The Great Mother Image" in its duality exists in every aspects of our being, and he incorporated this image into films like
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262:). Ghatak, both in real life and in this film, tried to find some meaning for the political and cultural turmoil overtaking his country.
222:
693:
30:
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307:; also according to Hindu mythology, Durga is a consort of Shiva). In an interview Ghatak described his wife Surama Ghatak as a
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Panchanan Ustad is representative of rural people, not very educated, but very rich with their own (folk) culture and heritage.
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The character
Jagannath Bhattacharjee, a Sanskrit language teacher, has been depicted as a representative of ancient
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was Ritwik Ghatak's last film. The film was believed to have a cinematography way ahead of its time. The film won
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Profiles, five film-makers from India: V. Shantaram, Raj Kapoor, Mrinal Sen, Guru Dutt, Ritwik Ghatak
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Profiles, five film-makers from India: V. Shantaram, Raj Kapoor, Mrinal Sen, Guru Dutt, Ritwik Ghatak
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Playback singers: Debabrata Biswas, Ranen Ray
Choudhury, Arati Mukhopadhyay, Binpani Roy Choudhury
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Assistant directors: Deb Dutta, Ananya Roy, Nikhil
Bhattacharya, Dilip Mukhopadhyay, Tapan Saha
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1085:"After internship with Ghatak and flops with Prosenjit, Tapan Saha goes big with bilingual"
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Ritaban Ghatak (Ghatak's real life son) played the character of
Nilkantha Bagchi's son
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1017:"Shaoli Mitra: āĻāĻŋāĻ°āĻŦāĻŋāĻĻāĻžāĻ¯āĻŧ āĻļāĻžāĻāĻāĻ˛āĻŋ āĻŽāĻŋāĻ¤ā§āĻ°ā§āĻ°, āĻļā§āĻˇ āĻāĻā§āĻāĻžāĻĒāĻ¤ā§āĻ° āĻŽā§āĻ¨ā§ āĻ¸āĻŦāĻžāĻ° āĻāĻĄāĻŧāĻžāĻ˛ā§ āĻ¤āĻžāĻāĻ° āĻļā§āĻˇāĻā§āĻ¤ā§āĻ¯"
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1056:. Directorate of Film Festivals, National Film Development Corp.
657:. Directorate of Film Festivals, National Film Development Corp.
490:
Assistant: Surath Das, Suresh
Chandra Chanda, Somnath Chakraborty
1179:
754:"Click here to find out more! Reason, Debate and a Story (1974)"
288:
The characters in this film have been portrayed allegorically.
1183:
459:
Story, screenplay, music and executive producer: Ritwik Ghatak
921:
Mourning the Nation: Indian Cinema in the Wake of Partition
468:
Assistant cinematographer: Shankar Chattopadhyay, Dipak Das
1599:
Films whose writer won the Best Story National Film Award
299:
Tripti Mitra played the role of Nilkantha Bagchi's wife
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694:"Reason, Debate and a Story (Jukti Takko Ar Gappo)"
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855:"Reason, Debate and a Story (1974) Acting Credits"
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335:is inspired by the Hindu mythological character
952:India International Centre (1 September 2010).
1195:
1115:"What's on at DCA - Dundee Contemporary Arts"
783:
781:
8:
537:(singer Sushil Mallick and Debabrata Biswas)
373:Nachiketa: Sugata Burman (Manik Barmon Roy)
313:(a very pious woman, and consort of Shiva).
160:Jukti Takko Aar Gappo scene (1 min 28 secs)
1202:
1188:
1180:
29:
20:
958:. Pearson Education India. pp. 44â.
887:"Stammer, Mumble, Sweat, Scrawl, and Tic"
520:The following songs appear in the film's
213:film directed by auteur of Indian cinema
924:. Duke University Press. pp. 201â.
493:Dance choreography: Shambhu Bhattacharya
1141:"Votes for JUKTI TAKKO AR GAPPO (1974)"
955:Water: Culture, Politics and Management
892:. Raqs Media Collective. Archived from
685:
620:, 2 critics and 2 directors (including
223:National Film Award's Rajat Kamal Award
183:
7:
1005:. Ritwik Memorial Trust. p. 78.
1589:Films set in the partition of India
511:Sound recording: Shyam Sundar Ghosh
203:
788:Aristides Gazetas (9 April 2008).
640:Ghatak, Ritwik (17 January 1987).
14:
600:Screenings in different festivals
487:Art direction: Rabi Chattopdahyay
412:Police inspector: Shyamal Ghoshal
918:Bhaskar Sarkar (29 April 2009).
725:. Gyldendal A/S. pp. 324â.
409:Leader of Naxalites: Ananya Ray
184:Problems playing this file? See
164:
1574:Films directed by Ritwik Ghatak
791:An Introduction to World Cinema
542:Amar onge onge ke bajaye banshi
292:Ghatak played the character of
62:Rita Productions, Ritwik Ghatak
1:
1569:Bengali-language Indian films
1379:Short Films and Documentaries
1091:. 20 May 2009. Archived from
823:"Na22nd National Film Awards"
696:. harvard.edu. Archived from
415:Alcoholic person in village:
303:(influenced by Hindu goddess
1604:1970s Bengali-language films
1584:Indian black-and-white films
794:. McFarland. pp. 326â.
614:In a 2012 poll conducted by
565:
556:
549:
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533:
112:30 September 1977
1620:
566:Janti gachhe janti phal je
550:Namaz aamar hoilo na adaay
479:Assistant: Kali Prasad Roy
233:In this film Ghatak plays
207:Reason, Debate and a Story
16:1974 film by Ritwik Ghatak
1392:Bihar Ke Darshaniya Sthan
1386:Adivasiyon Ka Jeevan Srot
1217:
719:Peter Schepelern (2010).
391:Jagannath Bhattacharjee:
70:
28:
1048:Shampa Banerjee (1985).
990:. Ritwik Memorial Trust.
857:. Movies & TV Dept.
756:. Movies & TV Dept.
673:"Jukti, Takko aar gappo"
649:Shampa Banerjee (1985).
644:. Ritwik Memorial Trust.
482:Supervisor: Ramesh Joshi
453:Direction: Ritwik Ghatak
225:for Best Story in 1974.
986:Ghatak, Ritwik (1987).
328:means "true" or "real".
1418:Scientists of Tomorrow
1305:Titash Ekti Nadir Naam
1249:Written & Directed
534:Keno cheye achho go Ma
476:Editor: Amalesh Sikdar
284:Allegorical characters
1478:Bagalar Banga Darshan
1432:Puruliar Chhou Nritya
1313:Jukti Takko Aar Gappo
1170:Jukti Takko Aar Gappo
590:Jukti Takko Aar Gappo
580:Jukti Takko Aar Gappo
428:Satindra Bhattacharya
382:Satya: Ritaban Ghatak
324:and Bengali the word
278:Jukti Takko Aar Gappo
219:Jukti Takko Aar Gappo
200:Jukti tôkko aËr gôppo
195:Jukti Takko Aar Gappo
24:Jukti Takko Aar Gappo
1594:Films set in Kolkata
1405:Ustad Alauddin Khan
1361:Dwiper naam tiyarang
835:on 28 September 2011
1089:Telegraph, Calcutta
1022:Anandabazar Patrika
496:Publicity layouts:
440:Tapan Chattopadhyay
431:Tarak Chattopadhyay
867:on 30 January 2013
860:The New York Times
766:on 8 February 2013
759:The New York Times
545:(Rabindra Sangeet)
526:Ustad Bahadur Khan
504:Ustad Bahadur Khan
393:Bijon Bhattacharya
344:Vedic civilisation
1551:
1550:
1273:Bari Theke Paliye
1063:978-81-201-0007-7
1029:. 16 January 2022
965:978-81-317-2671-6
931:978-0-8223-4411-7
801:978-0-7864-3907-2
732:978-87-02-04523-9
700:on 11 August 2011
664:978-81-201-0007-7
617:Sight & Sound
437:Subrata Sensharma
434:Nani Chattpadhyay
405:Gyanesh Mukherjee
403:Panchanan Ustad:
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153:
152:
1611:
1541:Meghe Dhaka Tara
1516:Nilkantha Bagchi
1454:Unfinished Films
1444:Durbargati Padma
1281:Meghe Dhaka Tara
1240:Theatrical Works
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1147:on 21 April 2023
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899:on 13 March 2016
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462:Cinematography:
443:Munir Choudhury.
365:Nilkantha Bagchi
273:Meghe Dhaka Tara
235:Nilkantha Bagchi
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1163:External links
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1095:on 24 May 2009
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1223:List of works
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1121:on 6 May 2017
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1230:Filmography
558:Chhau dance
385:Bongobala:
59:Produced by
41:Directed by
35:Film poster
1579:1974 films
1564:1977 films
1558:Categories
1509:Characters
1425:Amar Lenin
1354:Kumari Mon
1033:17 January
681:References
622:Amit Dutta
522:soundtrack
516:Soundtrack
464:Baby Islam
399:Utpal Dutt
186:media help
116:1977-09-30
80:Baby Islam
51:Written by
1347:Swaralipi
1340:Madhumati
704:1 October
610:Accolades
573:Reception
417:Jahor Roy
337:Nachiketa
333:Nachiketa
294:Nilkantha
247:Naxalites
85:Edited by
71:See below
1438:Yeh Kyun
1368:Rajkanya
1265:Ajantrik
1151:10 March
1125:30 April
871:3 August
839:30 April
770:3 August
322:Sanskrit
243:Sanskrit
229:Synopsis
146:Language
133:120 mins
93:Music by
67:Starring
1332:Musafir
1324:Written
1257:Nagarik
1099:19 July
1069:20 July
1027:Kolkata
971:19 July
937:15 July
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807:15 July
738:18 July
634:Sources
502:Music:
376:Durga:
354:Credits
266:Imagery
211:Bengali
204:transl.
149:Bengali
138:Country
114: (
1544:(2013)
1536:(2003)
1525:Legacy
1501:(1975)
1493:(1972)
1487:(1968)
1481:(1964)
1473:(1959)
1465:(1951)
1462:Bedeni
1446:(1971)
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423:Others
253:Themes
96:Ustad
1398:Oraon
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326:Satya
320:. In
318:Satya
305:Durga
301:Durga
141:India
1412:Fear
1175:IMDb
1153:2019
1127:2017
1101:2012
1071:2012
1058:ISBN
1035:2022
973:2012
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588:"In
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310:Sati
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