Unique vision, unique storytelling, unique direction—these define the extraordinary individuality of Ritwik Ghatak! The intensity of his life is truly astonishing. He expanded brilliantly across multiple dimensions. For cinephiles, Ghatak, who achieved an immortal life through his creative artistry, remains a subject of endless fascination. In 2025, it will be a hundred years since his birth (born in Dhaka, undivided India: November 4, 1925). Like a turbulent river rushing toward the sea, he physically left this world at the age of 50 (died in Kolkata, independent India: February 6, 1976).
I’ve repeatedly used the word “unique” for Ritwik Ghatak, and alongside this, his personality was eccentric! There’s a reason for saying so. He was an activist of the Communist Party of India, and the ideology of communism cast its shadow over his works. December 16, 1971, is one of the significant days in India’s history! On this day, under the leadership of then-Prime Minister Indira Gandhi, the Indian Army liberated East Bengal, which had been under Pakistan’s control, leading to the birth of Bangladesh. This development earned praise from political leaders across party lines.
In 1972, director Ghatak set out to make a documentary on Bangladesh’s liberation. To conduct an interview, then-Prime Minister Indira Gandhi arrived at Kolkata airport slightly earlier than scheduled and waited. Despite her long wait, Ghatak didn’t show up. As a result, the documentary remained incomplete and never saw the light of day. Financial constraints and his eccentric nature also caused several of his films and documentaries to remain unfinished or unreleased.
Ritwik Ghatak entered the West Bengal film industry in 1950 as an actor and assistant director with Nimai Ghosh’s Chinnamul. Two years later, he worked on Nagarik, which wasn’t released during his lifetime but premiered in 1977. Films like Ajantrik, Bari Theke Paliye, Meghe Dhaka Tara, Komal Gandhar, Subarnarekha, Titash Ekti Nadir Naam, and Jukti Takko Aar Gappo were written and directed by him. Each film profoundly impacts its audience.
The partition of India, particularly the division of Bengal, caused deep pain for Ghatak, who was born in undivided Bengal and carried memories of his childhood and youth. He never forgot this anguish throughout his life. Films like Meghe Dhaka Tara, Komal Gandhar, and Subarnarekha vividly depict the trauma of the partition.
Ghatak also wrote stories and screenplays for films directed by other prominent filmmakers. Among these, the commercially successful Madhumati (1958), directed by Bimal Roy, earned over 4 crore rupees at the time—an astounding figure! Its success inspired similar-themed films in various Indian languages.
Renowned Indian filmmaker Satyajit Ray was an admirer of Ghatak’s cinematic artistry and praised him, calling him a prolific filmmaker of 1950s-60s Bengal. Sadly, the Indian film industry recognized Ghatak’s colossal talent only after his death—a tragic reality!
Ghatak also worked at the Pune Film Institute, providing a rare opportunity for his students. Filmmakers like Mani Kaul, Adoor Gopalakrishnan, Saeed Akhtar Mirza, John Abraham, Kumar Sahani, and Subhash Ghai, who left their mark on Indian cinema, were influenced by Ghatak’s cinematic vision.
“In the Indian context, we often see rivalries in the creative world. In the art-house cinema sphere, we see this with Satyajit Ray and Ritwik Ghatak. Their ideologies are like two schools of thought, each with a large following. Ghatak’s films are deeply intriguing! They carry iconoclastic ideas, breaking established norms in parallel cinema. He was the first to introduce sync sound in films,” said film expert Pradeep.
“He brought innovation to cinematography perspectives. His films’ music is also distinct. While Ray used the sitar for background scores, Ghatak used the sarod. Noticing these nuances, they appear as two poles. Both instruments evoke specific emotions in cinematic contexts, adding profound meaning. Ghatak’s films not only stir the mind but shake and bewilder sensitive viewers. Subarnarekha is just one example. All his films provoke intense reflection,” Pradeep Kenchanuru elaborated.
