In her latest book Through the Lens, Brightly: Women in Cinema, Women at work, Shoma A Chatterji, veteran film critic and author of 30 books, turns her attention to the representation of working women by women filmmakers.
Born in Dina (now in Pakistan) a part of Jhelum district in 1934, Gulzar imbibed his love for Urdu and poetry from his Urdu teacher in Delhi’s United Christian School “where Urdu was the medium of instruction till Independence.”
The play is set in the 1950s in an Arizonian desert replete with cactuses named Asteroid City which is quite similar to the setting of Beckett’s play “Waiting for Godot”; Beckett’s play opens with two bedraggled acquaintances, Vladimir and Estragon, meeting by a lifeless tree.
To me, success is defined by the choices that I am getting to play different kinds of challenging roles in different kinds of films in recent years. It is great to be in a position where you have plenty of roles and films to choose from.
The concept of ‘homelessness’ described so lucidly by Ranjani Mazumdar her seminal essay does not apply to the “outsider” as interpreted in and through the characters in the cinema of Bimal Roy.
Can we label Mithun as the reigning guru of Tollygunge’s mainstream cinema who constantly gives younger heroes like Prosenjit and Jeet a run for their money? Probably. He is the only star-actor in Bengali cinema who triumphantly walks the tightrope between mainstream and off-mainstream cinema having bagged three national awards in his portfolio.
Aribam Syam Sarma “obtained a Masters Degree in Philosophy from Visva Bharati University, Santiniketan. He is a philosopher. He searches for the aesthetic values of every object and understands it thoroughly. And it reflects into his films.
Sen’s heroines, especially in his later films are everyday workers who could well be typists and saleswomen who came out in droves after partition, gradually replacing the fast dwindling Anglo-Indian secretaries.
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