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Sample the lines – “Megh peoner bag er bhetor mon kharap er deesta/Mon kharap hole kuasha hoy/byakul hole Teesta”. In Titli (The First Monsoon Day), Ghosh employed what will always go down as one of his best lyrics. But if people raised eyebrows at the decision of making Rai a pre-independence Tagore heroine, they were not ready for what he would do with the sexuality of Bipasha Basu in a role that dressed her in pleated jamdanis and mangalagiri – as she played the role of Radha, an amateur poet struggling the memory, art and ephemerality of her deceased poet husband.Īlso read | Why Satyajit Ray is still the saviour for the Bengali film industry Aishwarya Rai, a woman who captured the imagination of a nation with her beauty, in a post-Devdas appearance finally felt humanely blood-veined in her portrayal of Binodini in Chokher Bali. In his hands, Rituparna Sengupta became the survivor of a public molestation and marital rape. Ghosh eventually went on to work with several leading heroines of his times – deconstructing the brouhaha of their external silver screen personalities to present an image of sensitive and often raging femininity that was relatable at the least and stirringly poetic at the best. For those who were still pondering upon the body of work this artist was going to produce, this was just the beginning of an almost three decade long obsession with star personae.Īlso read | Love, lust and heartbreak: From Shree 420 to Jab We Met, Bollywood’s romance with rains One of the reigning heroines of the silver screen in those years, Ghosh deconstructed her star persona completely – presenting her as an ordinary middle-class, post-liberalisation student of medicine who is grappling with the grief of her deceased father and the overbearing absence of her dancer mother. Throughout the film Debashree Roy (who went on to win a National Award for her performance in the film) was seen wearing a plain olive green t-shirt and a long skirt. It brought the ordinary in fashion again. The film, beyond its quiet meditation on the politics of a mother-daughter relationship over the span of a single day, was also reminiscent of a certain middle-class sensibility that was slowly fading from the cinema of the region. In a post-Satyajit Ray era, when Bengali cinema was undergoing a massive cultural and economic crisis, Rituparno Ghosh – a man with an Economics degree and a background in advertising – entered the cinema-space with his internationally lauded chamber-drama Unishe April (19th April).
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