chandragrohon
download bangla movie chandragrohon videos. watch bangla movie chandragrohon videos. free download & watch bangla movie chandragrohon videos online .
the film chandragrohon won national film award and also other four awards totally seven sections .
how can i put and write and define chandragrohon in a sentence and how is the word chandragrohon used in a sentence and examples? 用chandragrohon造句, 用chandragrohon造句, 用chandragrohon造句, chandragrohon meaning, definition, pronunciation, synonyms and example sentences are provided by ichacha. net .
album name: chandragrohon, artist: imon shaha & habib, . you can get full audio album here. urltoken
murad parvez is a bangladeshi film and television director. he was director of chandragrohon and brihonnola and directed many tv serials in bangladesh .
in a film
chandragrohon
, she sang
tomare dekhilo porano bhoriya
with habib wahid, and she sang
sparsh
in a film
projapoti
.
amar bondhu rashed (film), bombaiyer bombete (film) and chandragrohon are some of the examples. - talk) 08: 12, 18 october 2016 (utc )
emon saha is a bangladeshi composer, musician and singer. he earned four bangladesh national film awards for his music composition and direction in the films chandragrohon, kusum kusum prem, ghetuputra komola, pita and meyeti ekhon kothay jabe .
in the big canvas of the screenplay of chandragrohon, parvez has depicted diversified characters who belong to the downtrodden people. through these characters he takes the viewers to a crisis that challanges our rational thinking. the story is neither unrealistic nor supranatural, but very practical: will anybody allow his or her son to marry an illegitimate girl? may be in the conventional dhaliwood movies, the son, ignoring his parents makes it happen, but in chandragrohon it does not happen and the incident drives the protagonist to insanity .
in the big canvas of the screenplay of chandragrohon, parvez has depicted diversified characters of downtrodden people. through these characters he takes the viewers to a crisis that strikes our rationality. and the story is not absurd nor supra natural, but very practical: will anybody allow his or her son to marry an illegitimate girl? may be in the conventional dhaliwood movies the son ignoring his parents makes it happen, but in chandragrohon kashu (riaz) cannot do that which drives the lovely phalani (sohana saba) to insanity .
chandragrohon film songs were composed by habib wahid and imon saha. the film song written by kabir bakul, jewel mahmud, mohammad rafiquzzaman, and arko mostofa. total 8 songs. singers are habib wahid, samina chowdhury, nancy, dinat jahan munni and subir nandi .
again almost same pattern of editing on cinema of bangladesh, shakib khan, shikari (2016 film), niyoti, list of bangladeshi films of 2016, list of highest grossing bangladeshi films, chandragrohon etc. - talk) 19: 35, 1 january 2017 (utc )
she started out with television and made a mark in films soon after. sohana saba has acted in several bangladeshi ventures like khelaghar - doll house, chandragrohon, priyotomeshu - love and repulsion and brihonnola - the poisoning sap. the actress is now a part of ayan chakraborti’s debut film shororipu .
chandragrohon film songs were composed by habib wahid and imon saha. [ 1 ] the film song written by kabir bakul, jewel mahmud, mohammad rafiquzzaman, and arko mostofa. total 8 songs. [ 5 ] singers are habib wahid, samina chowdhury, nancy, dinat jahan munni and subir nandi .
chandragrohon fiwm songs were composed by habib wahid and imon saha. [ 1 ] the fiwm song written by kabir bakuw, jewew mahmud, mohammad rafiqwzzaman, and arko mostofa. totaw 8 songs. [ 5 ] singers are habib wahid, samina chowdhury, nancy, dinat jahan munni and subir nandi .
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chandragrohon: the lunar eclipse (bengali: চন্দ্রগ্রহণ), is a bangladeshi film based on a short story written by indian bengali author syed mustafa siraj. the film was released 2008 and younger director murad parvez first time... jump up ^
chandragrahan receives top award at rainbow film festival
. the daily star. urltoken
he also has composed songs for different film soundtracks such as hridoyer kotha, akash chowa bhalobasha, chandragrohon, i love you, eito prem, third person singular number, amar ache jol, and many others. wahid makes songs that
has the essence from the roots of bangla music
, says kumar bishwajit while recording a song under the direction of wahid in a movie called projapoti .
he also has composed songs for movies such as hridoyer kotha, akash chowa bhalobasha, chandragrohon ,
i love you
,
eito prem
,
third person singular number
, amar ache jol, etc. habib makes songs that
has the essence from the roots of bangla music
, says kumar bishwajit while recording a song under direction of habib wahid in a movie called projapoti .
ershad kamol it is a common allegation against bangladeshi filmdom that these days not many aesthetically rich movies are released targetting the masses. only a very few filmmakers are coming up with new ideas and rich presentations as well. young filmmaker murad parvez' s debut feature film chandragrohon is one such production worth watching. after two weeks of remarkable success at star cineplex, the movie is now being screened at the theatres outside dhaka city .
he had the desire to grab the national award for his debut film. however, winning eight national awards in seven categories for a film is definitely more than any debutant filmmaker could dream about. but this is exactly what happened to young filmmaker murad parvez, whose debut feature film chandragrohon grabbed eight national awards. the delighted director, however, claimed that although he had the thirst to win the award, the results were more than his expectation .
chandragrohon, adapted from the narratives titled ranighater brittanto by syed mustafa siraj, is different from the stereotypical storyline of bangladeshi commercial cinemas. it deals with the people living at the kheyaghat (the bank of a river where people go for boats to cross the river). for business purposes, people from different corners of the country live in such areas, the ghats are also infamous for criminal activities. however, murad parvez' s intention is not to feature this sordid side as is the tradition in dhaliwood based movies .
chandragrohon, adapted from narratives titled ranighater brittanto by syed mustafa siraj, is different from the stereotypical storyline of bangladeshi commercial movies. it deals with the people living at the kheyaghat (a common place beside a river where people go for boats to cross the river). for business purposes, people from different corners of the country live in such areas, even the ghats are infamous places for criminal activities. however, murad parvez' s intention is not to feature extra - judicial activities following the traditional dhaliwood based movies .
i read the story ranighater brittanto in 2004 to make a tv drama ,
says the award winning film director, screen playwright and dialogue writer murad parvez, who is basically a tv drama maker ,
but, actor saba, who performed the protagonist in chandragrohon, suggested that i make this a film. surprisingly the chance came when azam faruk, a uk based businessman, approached me showing desire to produce a aesthetically rich movie in bangladesh. i gave him the storyline and he was so impressed that he decided to make a big budget movie taking risk of making the film an inexperienced director like me .
sohana saba is a one of the popular bangladeshi tv actress, model, director, and producer. she is very cute, hot, beautiful and talented actress. she acted many tv dramas and movies. and her popular tv dramas were nupur, alokon, wow, khoyeri dana shalikher, mon, ekti diary, serious ekta kotha ache, odrissho manob, pabon mazhi, shei rateu bristi chilo, valobashi tai emoni etc. sohana saba also acted many movies aaina, khelaghor, chandragrohon, priyotomeshu, brihonnola, shororipu etc. sohana saba received meril prothom alo awards for her outstanding performance. sohana saba director - playwright murad parvez (2007 - 2015). now the couple separated .
shahiduzzaman selim: shahiduzzaman selim is one of the most famous and successful television actor and director in bangladesh. his debut tv drama was jonaki jwoley (1989). he acted several tv dramas and some movies. his most successful tv dramas were mamuli bepar, bhalobashi koto – bhalobashi na to, rong mohol, juarir bou, ononto prodip, lilaboti, jhamela nonstop, chorer bou, dokshinayoner din, sab badha periye, aji bijon ghore, pattayar pathe neyamat, mongol chhaya, jiboner oli goli etc. his acted some movie mad _ e in bangladesh, chandragrohon, chorabali, devdas, podmo patar jol, oggatonama. shahiduzzaman selim won meril prothom alo awards for kanta and bangladesh national film awards for chorabali. mahfuz ahmed was born january 5 in tangail, bangladesh. shahiduzzaman selim was married another actress rosey siddique and the couples have two daughters, toma and sreema .
hariye fela bhalobasha - habib habib ft nancy hawai hawai dolna doleh chondrogrohon akash chowa bhalobasha হাবিব movies such as hridoyer kotha, akash chowa bhalobasha, chandragrohon, hariye fela valobasha (2015); mon ghumayre (2015); nishi furaye na (2010) jun 20, stream akash choa bhalobasha habib nancy bengali song and watch movie online free in good quality. full movie akash choa bhalobasha habib nancy bengali song youtube download: akash chowa bhalobasha [ ost ] various singer: movie song: download: aha [ ost ] various singer: movie song: download: first previous 1 2 3 4 5 6 7 8 9 10 11 12 prithibir joto shukh | akash chowa bhalobasha | best of nancy 1. title: prithibir joto shukh | artist: habib wahid ft. nancy | movie: akash chowa bhalobasha. watch hawai hawai dolna dole singer: habib and nancy album: akash chowa bhalobasha banglish: akfara. hawai hawai dolna dole shurer dana mele tomar moner uthan lepe debo
postscript: given the very nature of the archives of the hungryalist movement, it is almost impossible to write this essay in english. poetry as a form demands close reading, an attention to language and details, in a way it’s almost impossible to accomplish in translation. consequently, i have chosen to write in more details only about poems that are available online – in english translations. at the same time, i have tried to bear in mind poems that exist solely in bengali. thanks to goirick brahmachari for directing me towards the translated archives at the sunflower collective. readers who read bengali might also benefit from trying to get hold of a copy of one of recent issues of the bengali little magazine chandragrohon, devoted to phalguni roy. for readers interested in probing further into the gender politics of the poem ‘stark electric jesus’, please read debaprasad bandopadhyay’s essay in the first book - fair issue of the little magazine, aainanagar. i am profoundly grateful to debaprasad - da for articulating in writing what i and some of my friends have discussed in private for ages. and, in doing so, debaprasad - da’s essay has contributed immensely to the developments of my own arguments on the gender politics of the hungryalists .
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the national film award for the year 2008 was announced on february 11. murad parvez individually got three awards: best director award, best screenplay award and best dialogue writer award. azam faruk got the best producer award for producing the movie. imon saha got the best music director award for the picture. and three actors also got national awards in two catagories performing in chndragrahan: zahiruddin piar as the best anti - hero character and dilara zaman and champa for the best female supporting actors .
till then i was just a director and screen playwright of tv plays, who made only a few tv drama serials and single episode plays. so, i was lucky in this sense that even many eminent directors in the country don' t get a producer willing to make a big budget movie. but in my case good luck knocked on my door and i did not have to look for my producer .
that incident stimulated parvez' s long cherished desire to make a film. leaving all his activities he totally concentrated on this project .
my only intention was to make an aesthetically rich movie not only to win a few awards but also to entertain the people. often the award winning films don' t necessarily entertain people; on the other hand, the mainstream entertaining films in most cases are not asthetically rich, rather contain cheap entertainment .
murad parvez says that the film was made during a month - long residential camp in the remote areas to portray the outdoor scenes authentically .
the key challenge of the movie was to portray a realistic presentation of a ghat scene of the 1960s. in this connection, i chose a location beside the river atrai in a remote village called chandrapur in narail district. throughout the day we used to shoot and in the night we slept in a ship. and i must admit that i got enormous support from all the actors and crew. even the actors have already got their feedback by grabbing three national awards for this movie ,
says murad parvez .
but, it was not the only location that made it such a success. in fact, the film was made in 32 locations to develop the storyline authentically, since in the film the protagonist' s character and the ghat develop along parallel lines: in advancement of time a bridge is built on the river, which changes the socio - economic structure of the ghat. many locals become jobless and subsequently decide to migrate .
but was the film commercially successful ?
no ,
replies murad ,
due to three major causes we could not make money. first of all the film was released just a few days before the national elections and people were very tense due to the political movements prior to the elections. secondly, due the inexperience, the producer faced problem with the distributors. and, of course the target audience, the middle class, do not go to movie theatres considering the insecurity and dirty atmosphere of the existing movie theatres in the country. as a result the film ran only in nine theatres in major cities .
the success in his debut movie has boosted young filmmaker murad parvez to go onto his next project. he is now preparing for his next film titled daur .
it is completely a commercial thriller for the entertainment of the masses ,
informs parvez .
at the same time murad also wants to make tv plays to continue his practice. murad says ,
in bangladeshi perspective there is no option except making tv plays for a maker to practice and experiment on his technical aspects of filmmaking, since we don' t have any film institute .
cultural personality mostafa zaman abbasi gives away the lifetime achievement award to renowned cameraman and film - maker baby islam at the meril - prothom alo award giving ceremony at bangladesh - china friendship conference centre yesterday. photo: star
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phalani' s mother shokhina pagli, a mentally disordered woman, became pregnant. but, who could be the father? everybody suspects each other. subsequently a girl was born and named as phalani which means' discarded'. everybody at the locality collectively takes responsibility of the newborn baby, but when the girl was only three years old her mother died and the locals handed over the responsibility of the girl to an elderly woman named moyra mashi (dilara zaman) .
phalani' s character and the ghat develop parallelly in the movie. in advancement of time a bridge is built on the river, which changes the socio - economic structure of the ghat. many locals become jobless and subsequently decide to migrate .
meanwhile phalani becomes a nice looking teenager having a romantic relationship with kashu, a driver by profession of the same locality. when their romance becomes known, the elders of the locality who treat orphan phalani as their child, decide to arrange their marriage before migration .
this parallel development of the plot has been handled quite efficiently by murad parvez. from the very first scene, in a rainy dark night a few people are wandering around, has aptly created the suspense. and the director has maintained the tempo through his remarkable directorial compositions, handling of montage and shot distribution. his use of symbols using natural elements to portray human psyche deserves plaudits. in fact, it would not be exaggeration saying a real rustic life has portrayed in the movie. doing that he has used all the leading technical hands and actors of the country .
but, the movie loses the tempo when the love affair develops between phalani and kashu. the director could have avoided many scenes such as kashu' s imagination of phalani dancing like a' princess' at the jatra scene. more than that many scenes have abruptly appeared. and the weakest part of the movie is that the climax (when kashu' s father abul with his ill motive for stopping the marriage of his son with claims of himself being the father of phalani) has not been presented effectively .
however, the most powerful feature of the movie is bold acting by the cast members. dilara zaman as moyra mashi, azam faruk as a marwari ghat owner chowbeji, ks feroz as abul, shahiduzzaman selim as ismail driver, kohinur as madan and gazi rakayat as shambhu presented their respective characters efficiently. as the protagonist' s character sohana saba - - who has already performed the central character in many feature films made by independent filmmakers - - is impressive in the sequences that feature happiness. but there are signs of struggle in her portrayal of pathos and crisis. popular film actor riaz' s performance, at best, can be described as average. similarly, popular film actor champa has not managed well her challenging character of a mentally disordered beggar. her gestures appear exaggerated .
mahfuzur rahman' s cinematography taufiq hossain chowdhury' editing deserve plaudits. eminent art dirctor uttam guho has successfully created a ghat area of 1960s. music composers imon shaha and habib also deserve kudos for their melodious scores .
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a small market named ranighat is situated at river bank. a madwoman sokhina lives under a tree in the market. everyday many people visits the market and some of them had physical relation... see full summary »
lakeith stanfield and his sorry to bother you crew reveal their most soul - crushing jobs in our freewheeling interview .
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twelve people are passengers on board. the boatmen are taking them to safety, far away from the fierce clutches of war. all the people on board are devastated by the horrors of war. as the story advances, different events unravel .
in this tragic - comic study of religious hypocrisy, a disreputable cleric convinces villagers that their community is home to a famous holyman' s grave .
poor oil miller decides to use his daughter - in - law to spin the treadle due to lack of ox .
zaminder sarkar lives a lonely life in his grand house though his son, daughter - in - law and his granddaughter live in the same house. getting irritated by the crows, he shots crows everyday... see full summary »
story of a teenage boy who is hired by a colonial era landlord to entertain him until the annual flood is over .
the story is centered around a well stablished family and their daily life issues, with one exception of inclusion of a mysterious man (raiz) who does not know where he has come from or... see full summary »
it' s a story of boat journey of bangladesh in 1971 of helpless people was going towards the safe border. pakistan military had unleashed genocide in the country. heroic sons of the soil started a war of liberation .
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raaj and reshmi fall in love, despite having a belligerent past between their families .
this film is a unconditional love story of 2 people. riaz played the character called benu and purnima played the character called renu .
a small market named ranighat is situated at river bank. a madwoman sokhina lives under a tree in the market. everyday many people visits the market and some of them had physical relation with her and she becomes pregnant. moira masi looks after her. sokhina gives birth a girl and died after few years. till then moira masi rears up the girl. the girl got no name and everyone calls her falani. falani grows up and gets closer to kashu. everyone in the market wants them get married. but kashu' s father disagrees at this and confess his sin to falani that brings her same consequence like her mother .
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a mad woman (champa) lived near the marwari ghat. people from the market had physical relationship with her at nights. as a result, she became pregnant. moyra masi (dilara zaman) starts to look after her in this circumstances. one rainy night, she gives birth a little girl and dies on the birth bed. moyra masi looks after the little girl. the girl (sohana saba) does not get any name and so everyone calls her falani .
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, ks firoz, dilara jaman, kohinur, gazi rakayet, and azom faruk supporting role. in 2008, the film won three
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the 33rd national film awards, presented by ministry of information, bangladesh to felicitate the best of bangladeshi cinema released in the year 2008. the government announced the names of 24 artistes in 23 categories for the national film award in recognition of their outstanding contributions to the country’s film industry. [ 1 ] a eleven - member jury board prepared a list of 15 films that could be awarded out of 17 films in january 4, 2010. [ 2 ]
this page was last modified on 27 january 2016, at 08: 55 .
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september 24, 2009: nasa scientists have discovered water molecules in the polar regions of the moon. instruments aboard three separate spacecraft revealed water molecules in amounts that are greater than predicted, but still relatively small. hydroxyl, a molecule consisting of one oxygen atom and one hydrogen atom, also was found in the lunar soil. the findings were published in thursday' s edition of the journal science .
the observations were made by nasa' s moon mineralogy mapper, or m 3 (
m - cubed
), aboard the indian space research organization' s chandrayaan - 1 spacecraft. nasa' s cassini spacecraft and nasa' s epoxi spacecraft have confirmed the find .
above: a very young lunar crater as viewed by nasa' s moon mineralogy mapper. on the right, the distribution of water - rich minerals is shown in false - color blue. [ more ]
water ice on the moon has been something of a holy grail for lunar scientists for a very long time ,
said jim green, director of the planetary science division at nasa headquarters in washington .
this surprising finding has come about through the ingenuity, perseverance and international cooperation between nasa and the india space research organization .
' s state - of - the - art spectrometer measured light reflecting off the moon' s surface at infrared wavelengths, splitting the spectral colors of the lunar surface into small enough bits to reveal a new level of detail in surface composition. when the m
science team analyzed data from the instrument, they found the wavelengths of light being absorbed were consistent with the absorption patterns for water molecules and hydroxyl .
when we say' water on the moon,' we are not talking about lakes, oceans or even puddles ,
explained carle pieters, m 3' s principal investigator from brown university, providence, r. i .
water on the moon means molecules of water and hydroxyl that interact with molecules of rock and dust specifically in the top millimeters of the moon' s surface .
the m 3 team found water molecules and hydroxyl at diverse areas of the sunlit region of the moon' s surface, but the water signature appeared stronger at the moon' s higher latitudes. water molecules and hydroxyl previously were suspected in data from a cassini flyby of the moon in 1999, but the findings were not published until now .
above: data from nasa' s moon mineralogy mapper. the image on the left shows albedo, or the sunlight reflected from the surface of the moon. the image on the right shows where infrared light is absorbed by water and hydroxyl molecules. the water signature is strongest at cool, high latitudes near the poles. the blue arrow indicates goldschmidt crater, a large feldspar - rich region with a higher water and hydroxyl signature. image credit: isro / nasa / jpl - caltech / brown univ. [ more ]
the data from cassini' s vims instrument and m 3 closely agree ,
said roger clark, a u. s. geological survey scientist in denver and member of both the vims and m 3 teams .
we see both water and hydroxyl. while the abundances are not precisely known, as much as 1, 000 water molecule parts - per - million could be in the lunar soil. to put that into perspective, if you harvested one ton of the top layer of the moon' s surface, you could get as much as 32 ounces of water .
for additional confirmation, scientists turned to the epoxi mission while it was flying past the moon in june 2009 on its way to a november 2010 encounter with comet hartley 2. the spacecraft not only confirmed the vims and m 3 findings, but also expanded on them .
with our extended spectral range and views over the north pole, we were able to explore the distribution of both water and hydroxyl as a function of temperature, latitude, composition, and time of day ,
said jessica sunshine of the university of maryland. sunshine is epoxi' s deputy principal investigator and a scientist on the m 3 team .
our analysis unequivocally confirms the presence of these molecules on the moon' s surface and reveals that the entire surface appears to be hydrated during at least some portion of the lunar day .
the discovery of water molecules and hydroxyl on the moon raises new questions about the origin of
moon water
and its effect on lunar mineralogy. answers to these questions will be studied and debated for years to come .
jaya ahsan, who started out as a model in the late ’90s, debuted in films with dubshatar .
though the film was a dud, her acting was widely appreciated. jaya won the first national award in bangladesh for the film guerrilla. her next national award came for the movie chorabali. the actress, who has been making waves in the neighbouring country, was noticed by directors in bengal too. after her first tolly film aborto, jaya has a couple of projects lined up. she has wrapped up rajkahini and is currently shooting for ekti bangali bhuter goppo. up next will be kantho .
one of the most sought after actresses in bangladesh, mahiya mahi debuted in 2012 with bhalobashar rong. though her first tollywood flick romeo vs juliet failed to impress the masses, the girl’s acting chops didn’t go unnoticed. now back in bangladesh, mahi is busy with a couple of ventures, agnee 2 being one of them .
a model - turned - actress, kusum sikder started out as a singer before winning a pageant that brought her overnight stardom. after acting in several tv dramas, kusum went on to debut in films. her launchpad, gohiner shabdo, brought her the national award in bangladesh. she is now part of goutam ghose’s shankhachil, opposite prosenjit chatterjee .
having started out as a model, dilruba yasmeen ruhee was quick to join tv. her debut drama was oporichita, based on tagore’s short story. her role as a hindu woman in her debut movie sangram was widely appreciated. ruhee played a model in glamour starring parambrata chatterjee .
habib wahid is is one of a popular bangladeshi singer & composer. people often called him a. r rahman of bd. he attended south breeze school in dhanmondi. later took audio engineering graduate from london’s school of audio engineering. ferdous wahid one of a most popular singer during the 1970s and 1980s, his father .
he says. “while in london, i worked with a dj and worked on a remix for virgin records with nitin soni under the name nasha experience. ”
“krishno” was his first album where he added a new dimension in the bengali song history with adding contemporary techno and urban beats. the album was released in 2003 .
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gulshan ara akter champa is a bangladeshi film and television actress. [ 2 ] [ 3 ]
champa was born in the 1950s in village: bijoy nagar jessore district, khulna division, bangladesh. her birth date is 5 january .
she is the younger sister of actresses bobita and shuchanda. [ 4 ] champa is fifth eldest in a family of three sisters and three brothers .
champa started her career in 1981 with the btv drama dub satar. [ 5 ] she soon received offers for other dramatic roles, and appeared in sahabjadir kalo nekab, akash bariye dao, khola daroja, ekti joddo anno ekti meye, apoya, ekhane nongor, and others. [ 6 ]
( 1986), directed by shibli sadik. this film was produced by her sister shuchanda, and all three sisters (shucanda, babita, and champa) appear in the film. champa plays a police inspector. champa was the most popular actress in the period 1990 to 1996. she is considered as the'
champa married businessman shahidul islam khan in 1982. they have one daughter named esha [ 7 ] [ 8 ] champa' s relatives include omar sunny (nephew), moushumi (niece in law), and riaz (cousin) .
winner: best co - actress national film award. directed by chashi nazrul islam
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the term ‘hungry generation’ came to me in the same way its other temporal counterpart – the naxalbari rebellion – made its way into my consciousness. as a legend, as lived memories, stories, broken promises, fragments. in other words, as indirect references. there is also the other, seemingly obvious connection. in everyday bengali middle - class intellectual consciousness, both naxalbari and hungryalist poetics have come to be associated with notions of unsullied rebellious spirits, youthful dissent, experimentation with forms, denial of received forms and rejection in general. to put it simply, radicalism. more specifically, myths of radicalism. this is what it means to come after. for those of us who came of age in the kolkata of late 1980s and early to mid - 1990s, life was a series of aftermaths. the aftermath of naxalbari, the aftermath of hungryalism, the aftermath of ipta, the aftermath of the betrayal of electoral left, the aftermath of the collapse of the soviet empire. aftermaths, by definition, are also the fertile grounds for the births of the myths. precisely because, the events themselves are gone, over .
and that kind of aftermathness, often lived through myths and the memories of others, brings with it its own challenges. removed from the headiness that inevitably accompanies events such as naxalbari or the state - sponsored censure of hungryalist poetics, these aftermaths demand new evaluations. the aftermath transforms yesterday’s rebel into today’s pitiable icon. the aftermath transforms yesterday’s icon into today’s tired office - goer. the aftermath tears off the mask, the veil, leaving most things naked and open, demanding new analyses and new interpretations .
it is, therefore, not surprising that what provided the hungryalist poets their critical edge – the unabashed and repetitive writing of middle - class male alienation and rage – becomes the most institutionalized voice of bengali poetry in the period following 1977. by the time i came to any conscious reading of contemporary bengali poetry, as an overtly nerdy, overtly politicized, and unapologetically feminist teenager, growing up in a home where neither naxalbari nor hungryalism was out of bounds for adult discussion, the hungryalist alienated voice, often expressed through an unmediated, unreflexive ‘i’, was the normative voice of bengali poetry. to be a bengali poet was to write about the inability to find oneself in one’s social environment. to be a bengali poet was to mourn about the inability to love and be loved, a feeling often expressed through the much fetishized bengali word ‘oprem. ’ to be a bengali poet was to be lost in a world of default middle - classness. to be a bengali poet was to reiterate again and again the inability to rebel against one’s middle - classness. a gendered script, expressed most often through a neatly distinguished binary between men and women, masculinity and femininity, would round up this dominant script of alienation through which most bengali poets have written themselves, and are still writing themselves. there is nothing ‘anti - establishment’ about this voice. in fact, it is so thoroughly entrenched in post - 1970s bengali poetry that it is difficult to find any other mode of expression. a mode of expression that would not make documentation of middle - class alienation its mainstay .
from the vantage point of hindsight, it is indeed interesting to witness the genesis of this alienation - poetics within hungryalism, and thus also to historicize it. here, in these hungryalist poems, most of them somewhat co - terminous with naxalbari, alienation is its own political category. alienation is not a beginning point, alienation is not a means to an end. rather, alienation is the ‘real’ thing in itself. consequently, the poems themselves are converted into textual and symbolic spaces wherein this political category is given concrete linguistic form, reiterated again and again. the obsessive repetition of the writing of this alienation becomes a celebration of alienation. and this celebration of alienation becomes a form of rebellion in itself. think of this poem by shubho acharya :
a close reading of the poem reveals a strange stasis, the kind of stasis which is constitutive of most alienationist poetics. there are images from the everyday social life we know – the dog, the lamppost on the street, the narrator on the beach, the empty pocket. these are signifiers of a lower middle - class existence, which bring memories of post - independence disillusionment and social crises into the body of the poem – memories that provided the materialist foundation for much of the radical social and cultural movements of the era, including naxalbari. but the poem is hardly a mere list of images. there is an attempt at an ideological reading of the time of its origin – “words like ‘love’ and ‘death’ are utilised for sport. ” this line almost crumbles under the pressure of its own moralism. because it is so invested in a kind of trite, commonsensical moralism, it also misses out on the chance to put any ideological, sociological or imaginative pressure on its language. although like most literary, cultural or political collectives, the hungryalists did not speak in a homogenous or monolithic voice, and deeper readings of the movement’s archives would reveal certain internal fractures, if one could make a quick generalization about the dominant tone of the hungryalist social critique, it is this: hungryalist poems often predicate themselves on easy moralisms, operating under the guise of ideological and political critique. because the default effect of the hungryalist poems is constituted by rage – and youthful rage at that – and poking fun at the more dominant bhadralok moralism, their own moralisms appear as cloaked terrain. in other words, what has often been described as a form of rebellious aesthetics in hungryalist poetics is based on an extremely weak sociological eye .
indeed, acharya’s poem provides its own understanding of rebellion – “a distinctive self - contradiction i advance it can also / be called retreating there is no fear of being ambushed. ” coupled with the two concluding lines – “with the other i chuck the fearless chin / of the world, saying, ‘dance little lady dance’–. ” the self - contradiction does not explode under its own pressure. it does not move forward, it does not create any desire for change. if there is any transformation that happens in this poem, it is one of retreat. almost in the same way, the ‘chucking’ hinted at in the closing lines of the poem, although an assault on existing reality, does not produce anything other than the narrator retreating into his own inwardness – the role of a privileged spectator. maybe it is even an irony - conscious spectator, one whose being is constituted by a social environment of both the failures of liberalisms and left philosophies. yet it is a retreat nonetheless, the consciousness of which the poem records in strange ways .
thus, there is the word ‘ambush’, residing within the poem as a double - sequitur. on the one hand, it operates as a grave reminder of the time of the emergence of the hungryalist poetics, when incidences of ‘ambush’ – a term that brings into the poem’s body the realities of state violence – had reconstituted the lives of the bengali middle class to a certain extent. precisely because of that ambush - ridden everyday, the temporality which hungryalists share with naxalbari, the word ‘ambush’ exists in the poem as a reminder of its own fucked - up politics of retreating. a deeper examination of the archives of both movements would show the relationship between hungryalist poetics and naxalbari politics to be ambiguous. while this is an issue which demands more in - depth close readings, analyses and reinterpretations of the cultural productions that emerged from both movements, hungryalist poetics nonetheless brings up an unresolved issue: what are the limits of the category of alienation during times of social and political turbulence? can alienation ever exist as an autonomous political entity, and what are the responsibilities – social, political and aesthetic – of the alienated ?
yes, i am that reader who is never satisfied by mere alienation. in a way, i take the idea of alienation seriously. too seriously, almost. consequently, i see alienation as the beginning point of something bigger, but never an end in itself. as a result, most of the hungryalist poems appear too status - quoist to me. too tame. yes, i repeat: tame and status - quoist. as an individual who has tried to stay involved with activisms of some kind for most of my life, i am politically and emotionally familiar with the terrain that the hungryalists are marking for themselves. a radical - left student organizer during the mid - 1990s – an inconvenient time globally to call oneself leftist – i understand the critique of both the electoral left and the radical left that the hungryalists are relaying. yet the critique they present remains the critique of those who have moved away from the messy terrain of everyday organizing of any kind. in other words, hungryalism remains the aesthetics of the shirkers .
no, i do not expect their poems to change the world. but i do expect their poems to provide me with new ways of seeing the world. this is precisely where the hungryalists have failed. hungryalists did not provide me with a language to understand the specter of the privatization of education that faced most of my generation. hungryalists did not provide me with a language to understand neoliberal economic violence or for that matter the violence of its liberal forebear. hungryalists did not provide me with a language to understand more deeply the complex histories of oppression and identities in this world. hungryalists did not provide me with a language to engage more deeply with the multi - faceted realities of human resistance to oppression. hungryalists did not provide me with a language to understand the global failures of the left .
at most, the hungryalists provided me with a language to complain. at most, the hungryalists provided me with a language to document symptoms. at most, the hungryalists provided me with a language to trivialize everything considered sacred by mainstream society. but that has never been enough for me. i didn’t need any hungryalist to teach me that poverty is dehumanizing, or that the state is capable of breaking and killing. i didn’t need hungryalists to figure out the loopholes and contradictions of bhadralok morality .
yes, i want poems to do more. i want art to do more. i want literature to do more than become a list of gripes and remonstrations. consequently, the hungryalists represent to me a profound failure of the bengali radical imagination, a profound failure of the bengali middle class to fashion a radical poetics. it is not difficult to understand why the linchpin of the movement, the alienated lyrical ‘i’, alternately angry and sad, stands within the contemporary archives of bengali literature as a thoroughly appropriated category. after all, we middle class bongs love us some good alienation. it makes us feel edgy. it makes us feel sensitive, while leaving the central pillars of our structural existence untouched .
at the same time, there is something in these poems that would mark them as different from the lyricization of alienation in contemporary bengali. a certain sense of urgency, a certain breathlessness that is difficult to quantify. a certain sense that this world is a disaster, and nothing but disaster. a certain intuitive understanding that the bhadralok morality, which has dominated the social and creative life of post - independence bengal, needs to be torn apart. a form of raw rebellion against authoritarianism and social hypocrisy pervades these poems, in their formal experimentation with lines, white spaces, and punctuation. yes, there are moments when i am moved by them. yet this emotional appeal never lasts long. my relationship to hungryalist poetics is one of profound alienation. and that alienation stems from something profoundly simple: my own efforts to find myself within the poems of the hungry archives .
in other words, i am asking, what place has been accorded to women within the hungryalist texts. i will begin with a generalization. women appear in hungryalist poems as bodies – sexual bodies – and nothing but bodies on which desire is projected. in other words, if my alienation from the hungryalism was, to a certain extent, prompted by the fact that much of my political and aesthetic quests remained outside of the boundaries of a hungryalist aesthetics, it is also true that the hungryalist poets could not really imagine that someone like me might be their implied audience .
any sign of female sexual agency is vilified, mocked and ultimately turned into a site of male sexual violation. one can’t really say that the hungryalists write female sexual identity in terms of the virgin - whore dichotomy, because to be a woman with an independent sexual will is to be permanently reduced to the status of a whore within hungryalist poetics. like most of its social analysis, this particular way of reading women reeks of bhadralok moralism, cloaked in the language of male alienationist radicalism. what is absent is any political understanding of marriage as a social institution, of patriarchy as a socio - political category, and of sexuality as socio - cultural constructs of masculinity and femininity. any consciousness other than the sexual kind is automatically denied to women.
chandragrohon : the lunar eclipse ( bengali : চন্দ্রগ্রহণ ) , is a bangladeshi film based on a short story written by indian bengali author syed mustafa siraj . the film was released 2008 and younger director murad parvez first time directed the film . the film features riaz , shohana saba , and champa in lead roles along with shahiduzzaman selim , ks firoz , dilara jaman , kohinur , gazi rakayet , and azom faruk supporting role . in 2008 , the film won three national film awards and including other four awards . 
chandragrohon: the lunar eclipse (bengali: চন্দ্রগ্রহণ), is a bangladeshi film based on a short story written by indian bengali author syed mustafa siraj. the film was released 2008 and younger director murad parvez first time directed the film. the film features riaz, shohana saba, and champa in lead roles along with shahiduzzaman selim, ks firoz, dilara jaman, kohinur, gazi rakayet, and azom faruk supporting role. in 2008, the film won three national film awards and including other four awards.
chandragrohon: the lunar eclipse (bengali: চন্দ্রগ্রহণ), is a bangladeshi film based on a short story written by indian bengali author syed mustafa siraj. the film was released 2008 and younger director murad parvez first time directed the film. the film features riaz, shohana saba, and champa in lead roles along with shahiduzzaman selim, ks firoz, dilara jaman, kohinur, gazi rakayet, and azom faruk supporting role. in 2008, the film won three national film awards and including other four awards.