arekti premer golpo
although the story is completely different, it feels very similar to arekti premer golpo .
arekti premer golpo... just another love story & the mature exploration of the shunned domain .
its my world: arekti premer golpo... just another love story & the mature exploration of the shunned domain .
rituparno ghosh, indraneil, chapal bhaduri & kaushik ganguly in arekti premer golpo (bengali, 2010) kolkata movie... - washington bangla radio
arekti premer galpo means that the love between abhiroop and basudeb is like any another love story. it’s no different from that between two heterosexual people…. arekti premer galpo will also be the first film on homosexuality to be shot after the decriminalisation of section 377 of the ipc
december 28, 2010 (washington bangla radio / pen men at work): ‘arekti premer golpo’, the first film on same sex relations produced by the bengali film industry after the decriminalization of homosexuality as underlined in section 377 of the ipc, has been received well after its premier at a theater in kolkata. kaushik ganguly, the director of ‘arekti premer golpo’ wanted a nandan screening for the film, but the state owned theater turned down the requests of the filmmaker on grounds of ‘arekti premer golpo’ being a film on a same sex relationship. well, kaushik ganguly did well in ignoring the protests of nandan and its authorities, choosing a city theater instead for the premier for his path breaking film. if reports in the media are anything to go by, ‘arekti premer golpo’ has done wonders both critically and at the box office .
ganguly is one of the finest filmmakers of contemporary bengali cinema thanks to his films like “shabdo”, “arekti premer golpo”, “chotoder chobi”, “laptop” and “apur panchali”, all dealing with unusual subjects and themes. it is natural that big ...
alongside jaya, who is playing the role of padma, abir chatterjee plays lead in the film, while kaushik ganguly, renowned for making few acclaimed ventures like shabdo, apur panchali, and arekti premer golpo, will portray a special role in it .
earlier rituparno was this marginal genius who was his own but recently he had started interacting with directors like kaushik ganguly, whose film he acted in, arekti premer golpo. then he was collaborating with anjan dutt as well. he was also opening up .
when arekti premer golpo opened, most people were drawn to the theatres primarily by a curiosity factor — to see rituparno ghosh dressed as a woman. at the premiere, one got a sense of the somewhat embarrassed yet eager audience wholly uneasy ...
in 2011, ghosh played gay filmmakers in kaushik ganguly' s arekti premer golpo and sanjoy nag' s memories in march. his own movie chitrangada, which was released last year, reworked tagore' s dance drama about the romance between the warrior ...
this is a first best actor award for any bengali cinema in international competition, iffi. this award also completes a hat - trick for ganguly whose films' arekti premer golpo' and' apur panchali' had bagged awards at the iffi previously. kaushik ...
alongside jaya, who is playing the role of padma, abir chatterjee plays lead in the film, while kaushik ganguly, renowned for making few acclaimed ventures like shabdo, apur panchali, and arekti premer golpo, will portray a special role in it. last ...
the new bangla film arekti premer golpo to be released in 2010 is of interest for a couple of reasons. it is a rituparno ghosh movie, but rituparno ghosh will appear in the credits under the cast & crew scroller, since he is playing a lead role and not ...
that it was topped with another award makes him doubly happy, said ganguly. “that' chotoder chobi' was selected for the competitive section at the iffi was an honour in itself. to me, it' s more than winning a national award. both' arekti premer golpo ...
the versatile genius acted in films like' chitrangada',' arekti premer golpo' and' memories in march' .
i was not only astonished at his unabashed performance but the sheer facet that this man has managed to come out of the closet ,
dutt said about ...
the catchy slogan for boroline was written by none other than the person who would, years later, make such sensitive films as' the last lear' and' arekti premer golpo'. bongo jibaner ango (integral of part of the bengali life). the casually, scribbled ...
i admire him for his courage to defy the world and be himself ,
said bhaduri, who acted with rituparno in' arekti premer golpo', a story woven around chapal rani' s life. no one would know what dressing up like a woman in public takes more than bhaduri .
the new bangla film arekti premer golpo to be released in 2010 is of interest for a couple of reasons. it is a rituparno ghosh movie, but rituparno ghosh will appear in the credits under the cast & crew scroller, since he is playing a lead role and not directing the film. arekti premer golpo is directed by kaushik ganguly - one wonders if kaushik ganguly sometimes bounces directorial ideas off rituparno. the other actor playing the lead role is indranil sengupta. indranil sengupta was first seen in a tollywood film in the 2009 film angshumaner chobi after bollywood flicks like mumbai salsa (get dvd) and 1920 (get dvd) .
rituparno ghosh, a film director, actor, writer and lyricist had passed away on may 30, 2013 at the age of 49. rituparno ghosh, who had received national film awards for his work in unishe april, dahan, raincoat and utsov, had also acted in chitrangada, arekti premer golpo and memories in march .
while people have not stopped praising the first time performance of rituparno ghosh as actor, kaushik ganguly has been receiving compliments galore from within the film fraternity. directors srijit mukherji and atanu ghosh cannot stop talking about the film’s content and performances of lead actors rituparno ghosh and indraneil sengupta. ‘arekti premer golpo’ has won hearts, and how !
according to dr rajiv seal of fortis hospitals, who had been his physician for almost two decades, rituparno was also facing complications from hormone treatments after abdominoplasty and breast implants operations which he underwent for his role in kaushik ganguly' s film,' arekti premer golpo', in which he played a transgender filmmaker with a bisexual lover .
... actor, writer and lyricist had passed away on may 30, 2013 at the age of 49. ghosh, who had received national film awards for' unishe april',' dahan',' raincoat' and' utsov', had also acted in
chitrangada
,
arekti premer golpo
and
memories in ...
cinemar topic gulo khub valo. . amader rojkar diner kotha, ichhe mise thake ai cinemar golpo gulo te... .. tai amra sohojei relate kortepari... . ar golpo gulo o jibonto mone hoi... .. ﻿
alongside jaya, who is playing the role of padma and abir chatterjee, kaushik ganguly, renowned for making films like “shabdo”, “apur panchali” and “arekti premer golpo”, portrays a special role in it. the film is reportedly a love story between a bangladeshi widow and an indian man. kalikaprasad bhattacharya, the recently - deceased musician - composer, had done music for the film .
arekti premer galpo is a tribute to chapal bhaduri who himself has acted in the film. he has shared his moments as a debutant, guidance and help from kaushik as well as rituporno. he has told regarding acceptability of homosexuality as well as compared ...
arekti premer golpo is a path breaking movie in many ways. seldom is the issue of androgyny used in films, more particularly indian movies. the issue of man to man love has been there in many films, but such serious sensitive portrayal is remote. onir’s my brother nikhil dealt with it, true, but the vulnerability of those involved in it and the cruel intrusion of the society was not portrayed there .
the subject of male transgender has been handled in several movies earlier, the most memorable of which are late rituparno ghosh' s
chitrangada
and kaushik ganguly' s
arekti premer galpo
. the film
conditions apply
talks about the struggle of a ...
aar ekti premer golpo is a 2010 bengali movie directed by kaushik ganguly starring rituparno ghosh and indraneil in lead role. rituparno ghosh is playing a “gay filmmaker” role in this movie. it would be most interesting to watch the much acclaimed director ruruparno ghosh doing a prominent role in bengali cinema .
the best compliment that kaushik ganguly received was perhaps from chapal bhaduri, the yesteryear theater actor who is also part of the star cast of ‘arekti premer golpo’. chapal bhaduri gave a positive verdict after the first screening of the film in theaters. in a statement to the media, kaushik ganguly recalls how a common man walked up to him crying, revealing the fact that he was a gay but was afraid of voicing his feelings before watching the movie .
kolkata, aug 31 (pti) west bengal chief minister mamata banerjee remembered late filmmaker rituparno ghosh on his birthday today and said he had passed away
too soon
.
remembering rituparno ghosh on his birth anniversary. we lost him too soon ,
banerjee wrote on her twitter handle this morning. ghosh, a film director, actor, writer and lyricist had passed away on may 30, 2013 at the age of 49. ghosh, who had received national film awards for' unishe april',' dahan',' raincoat' and' utsov', had also acted in
chitrangada
,
arekti premer golpo
and
memories in march
.
with his”shob charitro kalponik” on the threshold of release, something else is keeping rituparno ghosh busy. he is facing the camera in koushik ganguly’s”arekti premer galpo” (previously titled chhaya chhabi) as a gay filmmaker, abhiroop, with indraneil, (basudeb, the cinematographer) playing his bisexual partner. both of them live in delhi and they have come down to calcutta to make a documentary film. the director and his dop (director of photography) run into trouble while shooting the film, which forces them to leave calcutta and shoot it somewhere else .
indraneil hardly lives up to what could have been a brilliant opportunity to explore his range as an actor. if only the screenplay had aided the actors more: it seems to struggle to hold too much together. in spite of the rough edges, however, arekti ...
but it is not only gay … the ‘subaltern - no - person’ existence is not even doubly marginalized, they are totally obliterated. the gays are marginalized, the are the women (may be) but this remaining oblivious towards the third sex altogether negates them from the societal periphery. interestingly enough this concept is not new to indian culture, cross - dressing had been a part of it from its inception, as obvious in the description of vishnu as mohini or arjun as vrihannala. but modern society remained always hushed up. it needed a jerk from the root to let the society face itself in a mirror with all its gleams and scars embedded on its face. now it is up to the society to decide whether it will accept itself as it is or put the veil again to conform to an apparent ‘normalcy’. kaushik ganguly’s arekti premer golpo (just another love story )
as the title of the film ” aar ekti premer golpo”, if scrutinized, suggests that it is “yet another love story”, rather unconventional or off the track relationship that the convention tends to browse at. the relationship between abhirup and basudeb is nothing a subject hitherto unconceived of. world history is abound in with homosexual relationships. socretes, edward - ii, richard - iii, james joyce, beetoven…. and the list is endless. what kaushik ganguly attempts to underscore is the burning issue, even though it has been lawfully decriminalized. it has to be borne in mind that homosexuality is the resultant aftermath of homosociality. the former is the sequel to the latter. rituporno ghosh, as the character calls for, is apt in the tailor - made role. ritu knows what he is. he has nothing more to make his credentials. from behind the camera he has brought himself before, not to earn new acknowledgment, nor to arrest audience by a startling portrayal, but to throw light upon the virgin territory, the society has not yet stept into .
rituparno’s brilliant acting, aided by sensitive performances by churni, raima and jishu, carries the film. jishu surprises with his intensity, especially in the tarapith sequences with the young chapal (rituparno). indraneil hardly lives up to what could have been a brilliant opportunity to explore his range as an actor. if only the screenplay had aided the actors more: it seems to struggle to hold too much together. in spite of the rough edges, however, arekti is a welcome whiff of fresh air for bengali mainstream cinema, one that breaks the ice on a difficult subject in the right ways .
a rekti premer golpo disturbs you at many levels. for one, there’s always the sense of a deeper film lurking in the background, even as the screenplay struggles to keep several life stories and two different time - frames in balance. gay director abhiroop sen (rituparno) is in a relationship with his cinematographer basu (indraneil sengupta). together, they set out to make a docu on yesteryear jatra actor and female impersonator chapal bhaduri (who plays himself in the film). as the film begins, the two stories become entangled. while chapal’s narrative builds slowly in the film - within - the - film, roop’s own life unravels as his relationship with basu begins to fall apart. the irony of roop’s situation is driven home when he, apparently much more in control of his life and sexuality than chapal, finds himself equally emotionally ravaged by similar betrayals. ‘has anything really changed? ’ the film seems to quietly ask. the emotional reality of the lives of chapal and roop forms the core of the film. their growing isolation, even from each other, highlights the failures of communication between generations and marginalities. but sudden, poignant moments of empathy succeed in shaking up both the status quo and the audience. it is one of the strengths of the film that it does not romanticise either the bond between chapal and roop, or roop and rani (basu’s wife, churni ganguly) .
this movie might turn out to be the boldest step forward for koushikda and co .
sopno tui swapnoi dekh. she is sexy ho ho ho ho. bra / panty porlei keo sexy hoi na .
this film would proof that love is an unique thing, no matters whom it is in between. thanks koushik da .
er age tomar kora shoonya e booke dekhechi. that was superb. ebar ritudake niye emon ekta bishoy niye chabi. dekhar janyo adhir agrahe pratikshya korchi. gay sex ke limelighte anar janya dhanyabad .
just read an article abt the movie, curious to see it. when should it wil goin to release? or where should we can get the dvd of it. let me knw
thanks koushik da and ritu da for chosing the subject in bengal. jara comment koreche ‘rituparno sexy babe’ tader ami dhikkar janai becouse tinie amader film industry ke atota upore nie cholechen. karon tini god ar ananno sriti .
yes, truely said. ritu has really touched the ground which is very sensitive and uncared by the society. a bold step to remove all worng notion and concept .
thanks koushik aar rituporno ke eto sundor ekta movie uphar deber jonno. ami tader uddesye boli jara aajo somaje “sob sala gay” bole somaj e jamaibababu saajte jai: tara koto ta asohay je tader iddentity crisiss niye doya hoi. tader ke boli je, ekjon ‘gay’hoye je jaigai manush pouchote pare sekhane pouche dakhao to janbo se kotota “stright”. amar tader ke boli purush hote gele kauke choto korte hoi seta tar: 1. ruchir abhab 2. education kom ba nei 3. hoi se iddentity crisis e bhoge ba se nije belongs kore. pls nijera change hoi noi to aagami kaale tomader swikar kore neber lok thakbe na e somaj e .
u are absolutely right sudip……. . thanks to ritu da and koushik da ato sundor akta movie upohar deoar jonno r somajer aei srenir manus gulo k onekta alor disha deoar jonno…. many many thanks……. .
sotyi ritu da n kausik da awesome…n thnk u very much for giving us such a beautiful flm…. really sobar ae flm ta dkha uchit n na hese film ta bojha uchit…. . tbe ami jotobr hall e dkhlm ae film ta totobr emn kichu audience peyeci jara hastei basto…even “bonomali tumi poro jonome hoiyo radha” ae gan ta k kichu lok hall e bose boleche “kirton”…. shame on that people…. . n sudip thank u very much……
gabul you are right :) :). sob salar dosh _ _ _ ache
the film shows the maturity of the bengali celluloid. the expression and the detailing of the charecter is outstanding. there is no doubt about the performance of indranil, jishu, chapal & mostly of rituporno. ritu’s expression, presence, dialogue don’t let us belief that it is his debut film. i feel every one should watch it, especially to understand what is love, how much one can sacrifice for love. the director’s spealilty is to reel out the parallel story of chapal & aviroop (ritu). hats off to rituporno & kaushik
the people like pintu, gabul, samik are very much true that they are gay. but they don’t disturb any one or they don’t shout that you are straight. then why are you shouting that “sab sala gay”. i am very much sure that, if you people get the chance to sex with them, that time you people forgotten that they are gay, just doing for the “masti. ” actually you people never understand their felling until unless your brother or your son going to be a gay .
i really liked the treatment of the movie. however, “ushno tar jonno”, a telefilm by the same director on the same subject was more touching. kudos to the director / producer for deciding to make a movie on a theme which is contemporary and essential. if mr. ganguli is reading this, i must say, i loved the use of ‘khol - kartal’ when ritu is helping churni dance. the drawing of a parallel with chaitanya assumes significance .
can anyone tell me from where i can dwnd d movie, pls reply friends .
eager to see d movie……… good strategy koushik da. he has understood ki meshale film cholbe r public khabe. doesn’t matter public kothakar… pocket vorlei holo. . 😛
prano bhoriye, trisha horiye, aro aro aro dao pran, prano bhoriye, trisha horiye, aro aro aro dao pran, tabo bhubane, tabo bhabane, more aro aro aro dao sthan. more aro aro aro dao pran, prano bhoriye, trisha horiye, aro aro aro dao pran, aro alo aro alo, ei noyone prabhu dhalo, aro alo aro alo, ei noyone prabhu dhalo, sure sure. . bonomali tumi, parojanome hoio radha, sundaro biroho, mone hobe jyano, kyano kande bodhubala; bonomali tumi, parojanome hoio radha, kandio kandio, amar matono kore kandio, krishna krishna nam, badane bolio ...
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the movie is about a delhi base trans gender documentary filmmaker abhiroop sen and his bisexual lover cinematographer. they wanted to make a documentary on the life of famous
jatra
actor... see full summary »
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the movie is about a delhi base trans gender documentary filmmaker abhiroop sen and his bisexual lover cinematographer. they wanted to make a documentary on the life of famous
jatra
actor
chapal bhaduri
but doing so sen recognized that his life resemble chapal' s life. the movie revolves around the trauma, the pressure, the setbacks, heartache and several situations faced by trans gender .
the film is about filmmaker abhiroop sen (rituparno ghosh) and his bisexual photographer basudeb (indraneil sengupta). they are from delhi, into a homosexual relationship & come to kolkata to make a film on chapal bhaduri, the theater &' jatra' (popular folk - theater) artists who was a master of playing female characters in his golden days, when females were not allowed from bengali families to join theater. in reality he is homosexual, from his very earlier stage of childhood he realized his female soul in a male body. the film tells us his sad story of his life - how he was never understood by his surroundings, how everyone deserted him, how his beloved ones bulldozed his feelings throughout his life & how he spent his life for those who ditched him. while doing the film rituparno relates chapal with himself. he plays dual role in this movie. as a director & chapal bhaduri' s youth role. when their life story intersects - they realize the cruelty towards homosexuals. chapal features as himself in the movie. he is one of the very less known, great actors of bengali cinema. the famous director rituparno ghosh, delivers one of the best performance ever in bengali language film. the film has a very good script, camera work, direction & acting team. it has portrayed tender touches for human relations with vivid & minute details. though it was made focusing on homosexual audience but it has won heart of millions throughout the globe .
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in 2009, the delhi high court ruled that the colonial - era anti - homosexuality law, section 377, was unconstitutional and, therefore, void. in 2013, the indian supreme court ruled that the high court does not have constitutional jurisdiction and reinstated the law. the four - year period between these judicial decisions remains the only time in the history of the former british raj (india, bangladesh and pakistan, as well as sri lanka under british ceylonese jurisdiction) that openly queer sexuality was not punishable by law. the 2010 release of the bengali film ,
), the first ever post - 377 film that explores these identities, provides an interesting examination of queerness from an indian perspective that is not palatable apologia, misconceived and prejudicial humour, or radical subversion. rather, it explores the various ways in which queerness can be experienced in the region in an organic and personal way – and i specifically say queerness instead of lgbtqia because the acronym does not speak to the spirit of different sexualities and genders that make the community in india so vibrant, even in its oppression .
juxtaposes the real - life story of dancer and actor, chapal bhaduri, with the fictional documentary - maker, abhiroop sen’s quest of self - discovery. neither chapal nor abhi (played by the late queer filmmaker and actor, rituparno ghosh) are fully able to come to terms with their need for masculine desire and feminine expression, and this tension is, in my opinion, what makes the film so exquisite. growing up queer in a part of the world where a colonial hangover is one of the biggest obstacles to sexuality being voiced openly, understanding my true identity has been the longest and most painful journey to take. the entrenchment of homophobic practice is due in no small part to the influence of colonialism, which specifically defined homosexuality as an undesirable and criminal “other” in 1860. and unlike the stereotypical coming - of - age story, the reality for me and for countless other members of the community is that the journey is ongoing and likely to never end .
encapsulates that dynamic perfectly by refusing to use labels to identify any of its characters. while speculation regarding the characters’ potential bisexuality or transness inevitably happen, the dialogue in the film itself shows how it is less fixated on fitting into neat boxes and more focused on simply living. in a scene towards the end of the story, chapal is getting ready to don a sari so that abhi can film him as his female alter - ego of chapal rani (literally queen chapal) while the two discuss their differing approaches to life :
abhiroop: why do you keep calling them feminine? it is just a sari, it is just jewellery .
chapal: why not? i only wear them as rani, not bhaduri .
chapal: does it matter? i like knowing when i am being what. [ pause ] i think it bothers you .
chapal: it does! it bothers you that an old man who has spent so much time being stigmatised and struggling is still more comfortable in his skin than you are .
abhiroop: shut up! shut up or i won’t film you! don’t make me do that; you and i both need rani .
for chapal, queerness is performative. he does not become “they” but can be “she” when bhaduri becomes rani on - stage. it reflects the way in which identity was fluid but still used labels in pre - colonial indian tradition. ancient texts like the
all touch on the fact that, prior to the introduction of section 377 under colonial rule, queerness was understood as a navigation of the masculine and feminine. although labels were not used the way they are now – hence my avoidance of the term lgbtqia – there was still a wider sphere in which it was experienced. fluidity existed within these boundaries but chapal is quick to point out that even fluidity requires points of stability. he cannot fathom living in a world where “masculine” and “feminine” are erased .
abhi, on the other hand, is adamant that the two terms are irrelevant. he is a quintessential postmodernist, rejecting labels altogether. for him, life is not fluid because fluidity implies movement between spaces. instead, life simply
. yet, his stoicism has chinks in the armour. he simultaneously rejects gendering clothing and makeup while pointedly refusing to be labelled “madam” by members of the crew in an earlier scene, insisting that he is “abhiroop and sir”. (a note here to point out that “madam” and “sir” are not in any reference to classist or hierarchical notions of respect per se, but were the terms used by crewmembers for abhiroop because he lived abroad and would have been comfortable with english terms of respect within the narrative of the story .) like chapal, he is stubbornly sure of himself when challenged by characters who are not queer, but exceptionally vulnerable when faced with other narratives of queerness .
a vital sub - theme is the way in which women and feminised men are treated in indian society. chapal rani is abused and exploited, her agency actively removed by her patrons in both the past (supporters of her art) and the present (abhi, as the financier of the documentary he is making), and her femininity used an excuse for verbally putting her down. likewise, abhi is shown to be most vulnerable when looking conventionally feminine, his crew second - guessing his work ethic and even his lover going from passive to dominant when abhi changes guises. it is telling that a film that is so openly proud of its queerness – with the majority of the cast and crew being queer individuals of colour – still displays a distinct lack of cisgender women, regardless of sexuality, and that any explorations of trans femininity are diluted by discussions of avoiding labels .
is a heart - breaking look at the history, the struggles, and the pride of the queer community in south asia. its narrative may be unique to indian theatrical practices of west bengal, but the themes can also apply to the rest of india, to bangladesh, pakistan and sri lanka, and even to nepal, which, at least legally, has a more progressive queer outlook. now more than ever, it is vital to have these discussions and explore these tensions. the next few years are going to provide a particularly fertile time for conversations on queerness and decolonisation .
on one hand, the uk is celebrating 50 years of its own decriminalisation of homosexuality in 2017 and, with brexit looming in 2019, has already shown that it is keen to forge supposedly meaningful ties with the commonwealth in order to strengthen its international presence. on the other hand, many grassroots queer advocacy groups from commonwealth nations – including from india, bangladesh, pakistan and sri lanka – are gearing up for the commonwealth heads of government meeting (chogm) in 2018 as a platform to reopen the discussion on section 377. universities and academia more widely are going to provide an important space for this particular movement as a lot of groundwork on chogm is done via research institutes and student bodies. narratives like that in
need to be grappled with so that a homonationalist and monolithic experience of queerness does not take hold. what is needed is nuance and, for a community that needs allyship and validation from both our own countries and the wider global network of queer liberation, the arts are a powerful and accessible way to do that .
ibtisam ahmed completed a ba in history and politics from the university of nottingham in 2013 and an ma in public policy from the university of warwick in 2014. he is currently working on his phd at the university of nottingham school of politics and ir, with a thesis that looks at the flawed attempt at utopia in the british raj .
... often i have mistaken... often i have been quite unreasonable as to hurt my friends... sometimes too selfish in my own way to fill up the lonely spaces that appears as ugly scars in my life... . and in the process i have all the more alienated myself... mounting expectations became intolerable pressure on my friends and it led to ultimate collapse... . but still i sit. . lonely by the window and hope one day will come... . and... .
the
other
is always intriguing. the “other” by virtue of their non - conformity are always on the wrong side. it never needs to be anti - establishment with a full galore, but just a little deviation tags someone “other”, the demarcation faces the fundamental question of righteousness though! and our society, by the primal urge to multiply, has therefore accepted the heterosexual world to be the supreme, the one and the only one, the “straight”. societies are essentially phallo - centric, so one phallus’ submission to another probably endangers the epitome position of males in this society, thought to be dominated by them !
rd sex, bisexuality, vulnerability, hypocrisy and pathetic plight inflicted … lives are ruined but all are busy keeping up to that ‘expected normalcy’ .
the most interesting part of the film was undoubtedly the plot and the subplot played by the same people. the story of chapal kumar bhaduri, the yester year theatre legend, who enthralled audience by his feminine roles and who happens to be the first self - proclaimed gay actor of bengali stage, is just a trope. kaushik deftly uses his story to hinge upon his own story of androgynous people in the society, whose existence in almost wiped out for some obscure reason. the story of chapal rani is the sub - plot which universalizes the main plot where the delhi based roop makes a documentary on the legend. roop’s boyfriend is basu (played by indronil), a bi - sexual man and his wife is played by churni (character’s name rani). the story unfurls through the intricate psychological proceedings in the characters .
rituparno stands out as usual … what an actor! he plays the role with aplomb. both his young chapal and roop are piteously vulnerable at the hands of the society. they are used, abused, misused before being thrown away. they exist in the ‘abyss of nothingness’ and even being great exponents in their fields they ever remain the butt of all ridicule .
indronil stuns as the helpless bisexual man, torn between love and social restrictions. he fails out in his balancing acts and seek recluse in a woman, albeit betraying himself. the last scene will remain one of his best ever acting … so helpless, devastated … he had loved roop genuinely but could not gather himself to discard the society, his wife and the unborn baby. he acts under absolute compulsion and obligation … his desperate clinging on to roop is heart wrenching .
the wife seemed to be as helpless as scheming. if she had to accept roop or chapal in her husbands life, that i felt was not out of her liberation. rather in chapal’s case she accepted under compulsions as she was bed - ridden and she had children. in case of basu she waited for the baby to come as she knew that she could score over roop in that point only. she didn’t have an answer when confronted with the question ‘what would have been her reaction had roop been a woman? ’
the film is complicated … raising questions after questions …who gains from shunning these people? rather people could have gained if they were let to live the life they wanted to. the film is an absolute mature deal with the issue. even if a wee bit of the cine - goers change their outlook towards these people … the film will be a grand success … bengali filmdom with this movie has finally attained adulthood. its not bold enough to portray nudity only … even without that this film stands out in its time … a film that will curve out a niche for itself … not for its content only, but for the handling of the same too .
super duper likes brother! ! your criticism is a standing ovation to the film ...
d' hari - hara' milan concept (in conitnuam wid d' mohini' concept) is also a classic exmaple of homosexuality in our mythology... .... . its acceptance has always been on a subterranean level... never was it explicitly mentioned. . for e. g. rabindranath er
strir patro
.. there has been a sly hint of it as depicted in the relation between haimanti and bindi. . it was unusual. . yet portraiture was made to look most ususal... .... even in the usa cross dressing,' gay' ism is abhorred by a lots of youths... remember the queer theory will only be valid so long as it will be regarded as queer. . just like feminism... nowadys, women are so' free' is many societies that they consider feminism to be obsolete... . tor lekha niye r natun ki bolbo... . choto thekei dekhechi ki valo likhis. . r prosongsa noy ami nai ba korlam. . ota natun pathak ra koruk... one word. . keep on writin. .
thank u all :) baijayanti... i ave a point with u... may be in another write up: )
lovely dadu. if kaushik brought this theme in bengali cinema, ur highlighting of it here will make that' wee bit' of the crowd think twice atleast if not change their notions .
darun likhechis... ha bhasa ta baddo bhari... .: p just kiddin... janis eta parar par tui amai cinema ta niye onya bhahe bhabte, bakhya korte majbur korli ...
swpno dekhe mon... aar tar por jontrona suto chhire ghurte thaka... golok dhandar yatra... hiseb melena... chawa - pawar jotil dhandha & amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; lt; br / & amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; gt; marginwidth =
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& amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; gt; free blog content
so do we all start by acting, nearer we are to what we ought to be the more perfect is our acting and suddenly a time comes when we are no longer surprised by our borrowed plumage... .
- - katherine mansfield so true... . we just think we are this and that, often remaining oblivious f our true self and only when we suffer we get to know that... . but alas we still go on clinging to the borrowed attire... ...
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bangladeshi actress jaya ahsan has gained popularity in kolkata and recently she wrapped up shooting for kaushik ganguly' s upcoming film bishorjon .
the national award winning actor revealed some pictures from the film' s shooting spot at kalimpong, a hill station in the indian state of west bengal .
last week, kaushik ganguly tweeted that the shooting of the film is wrapped up perfectly .
ganguly thanked jaya ahsan, abir chatterjee, the production company opera entertainment, and the whole unit for wrapping it up nicely .
the film is based on bangladesh before its independence (east pakistan), and depicts a romantic story .
it portrayed how borders try to detach people from each other while its love keeps them connected .
earlier, jaya acted in several films from kolkata, including arindam sil' s aborto and eagoler chokh, indranil roy chowdhury' s ekti bangali bhooter goppo, and srijit mukherji' s rajkahini .
undoubtedly, joya, the multi - dimensional acting genius, is getting her strong footstep in kolkata gradually .
editor: enamul hoque chowdhury published by maynal hossain chowdhury on behalf of east west media group limited, plot no: 371 / a, block no: d, bashundhara r / a, baridhara, dhaka - 1229 and printed at plot no: c / 52, block - k, bashundhara, khilkhet, badda, dhaka .
esob sex movie aajkal commn bepar chele tehke meye keui eghulo na dehke tahke na se jotoi vodro hok na kno eghulo na hole bengali movie cholbei na jotoi somalochna koruk na kno... . 😁😁😁😁﻿
submitted by wbri web desk on fri, 01 / 01 / 2010 - 21: 33 .
the kolkata bengali movie industry seems to have a sudden craze for alternative lifestyles. the recent flick cha - e - chuti, in spite of being a film that should have stood up for its skillful making and freshness, nevertheless became popular in at least some, if not most, part because of its depiction of romantic love between two women in a way that is far from the subtle portrayal of similar feelings in nil nirjane (get dvd) .
as you may have guessed from the fact that the lead pair is played by rituparno ghosh and indraneil sengupta that the lead pair practice alternative lifestyles. in fact, rituparno plays the role of a gay director and indraneil that of his bisexual cameraman in the film. the pair arrive at kolkata from delhi to shoot a documentary - the film depicts problems they face and eventually find a different location .
rituparna sengupta - interview | award winning kolkata bangla movie actress (washingtonbanglaradio. com )
tapas dutta' s ei mon tomake dilam (2010) bengali movie releasing jan 8, 2010 (washingtonbanglaradio. com )
sharon dutta' s thana theke aschi (2010) (washingtonbanglaradio. com )
film review - shankar ray' s saptasur (2009) bengali movie | true eastern movies production (washingtonbanglaradio. com )
bondhu eso tumi (2009) bengali movie feat. action by judo - ramu | sujoy ghosh - tanusree - victor banerjee (washingtonbanglaradio. com )
roopa ganguly - interview | award winning kolkata bengali movie actress (washingtonbanglaradio. com )
interview - bratya basu | acclaimed bengali movie writer, director, actor, playwright from kolkata (washingtonbanglaradio. com )
interview - rajesh roy, music director and pritha, playback artist | pa ma ga re sa (2009) kolkata bengali movie (washingtonbanglaradio. com )
film review - bish (2009) bengali movie by q (washingtonbanglaradio. com )
033 (2010) bengali movie - feb 5, 2010 (washingtonbanglaradio. com )
bengali actress reshmi ghosh as paromita in pa ma ga re sa (2009) bangla movie - a profile (washingtonbanglaradio. com )
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while creating the list i was wondering what films i should add. let’s face it; we did not have 10 hindi films to write about. and why only hindi films? a good film is a good film irrespective of the language. so, thought of creating a list with films from all over india that matter. films that need to recommended to one and all .
best soundtrack of the year! it is going to be a cult movie .
superb script! proved that a telephonic conversation can also be a film, and an entertaining one .
a role of a lifetime for any female actor. vidya balan nails it .
that last scene with all the characters in the hospital still gives me goosebumps.
arekti premer golpo ( bengali : আরেকটি প্রেমের গল্প ; english : just another love story ) is a 2010 india drama film directed by bengali filmmaker kaushik ganguly , written by kaushik ganguly . it stars rituparno ghosh and indraneil sengupta in lead role , while ghosh is playing as a gay filmmaker . this film is the first film on homosexuality to be shot after the decriminalisation of section 377 of the indian penal code . the first screening of this film was at the 60th berlin film festival in 2010 . 
arekti premer golpo (bengali: আরেকটি প্রেমের গল্প; english: just another love story) is a 2010 india drama film directed by bengali filmmaker kaushik ganguly, written by kaushik ganguly. it stars rituparno ghosh and indraneil sengupta in lead role, while ghosh is playing as a gay filmmaker. this film is the first film on homosexuality to be shot after the decriminalisation of section 377 of the indian penal code. the first screening of this film was at the 60th berlin film festival in 2010.
arekti premer golpo (bengali: আরেকটি প্রেমের গল্প; english: just another love story) is a 2010 india drama film directed by bengali filmmaker kaushik ganguly, written by kaushik ganguly. it stars rituparno ghosh and indraneil sengupta in lead role, while ghosh is playing as a gay filmmaker. this film is the first film on homosexuality to be shot after the decriminalisation of section 377 of the indian penal code. the first screening of this film was at the 60th berlin film festival in 2010.