Ritwik Ghatak, the auteur 'who wanted to live'

Text and photos by Ankita Ganguli A tribute paid to the unsung director, Ritwik Ghatak, on his death anniversary, 6th February.

Updated on: Feb 06, 2014 4:45 PM IST

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Text and photos by Ankita Ganguli A tribute paid to the unsung director, Ritwik Ghatak, on his death anniversary, 6th February.

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Part of a trilogy, Meghey Dhaka Tara (1960), Komol Gandhar (1961) and Shubarnorekha (1962) dealt with the temperament to fight the aftermath of partition and the refugees coping with the situation.

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The last sequence of Shubarnorekha - the 're-union'

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Titas Ekti Nodir Naam, 1973. The film is one of the first few to resemble the hyperlink cinema alongside Satyajit Ray's Kanchanjunga and Mrinal Sen's Calcutta 71.

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Komol Gandhar, 1961. The sign post which used to be the symbol of unity now stands for division.

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In an interview, Ghatak once mentioned, "I incorporated the duality of the India's Mother image in two of my films- Meghey Dhaka Tara and Jukti Tokko aar Goppo."

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Jukti Tokko aar Goppo is adventurous, revolutionary and highly intellectual, which forms an extraordinary montage that challenged the limitations of the narrative storyline.

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The first sequence of the epic film Jukti Tokko aar Goppo.

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Ajantrik, 1958. Georges Sadoul, a well known film critic said, "I can't tell the whole story... there was no subtitle... But I saw the film and was spellbound till the very end".