Bengali 4 Movie

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1. Paglu Title Song - Mika Singh

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Moner Manush is a 2010 Bengali feature film based on the life and philosophy of Fakir Lalan Shah, a noted spiritual leader, poet and folk singer of Bengal in the 19th century. Directed by Goutam Ghose, the film has Prosenjit as the lead actor portraying the character of Lalan Fakir. Paoli Dam plays the character of Komli, the key female disciple of Lalan.
Moner Manush has been regarded as one of the best creations of recent times, based on the response received by people of Bengal. This effort from Goutom Ghosh comes in the time of growing Bengali movies, making it certain that the revival of golden period of Bengali cinema is not far away.
The movie has won the Nargis Dutt Award for Best Feature Film on National Integration at 58th National Film Award.

Rabindranath Tagore’s elder brother Jyotirindranath Tagore, a Western educated bright young man from the 19th century Bengal met the octogenarian Lalan Fakir and drew a portrait of the poet saint in the former houseboat afloat on the Padma river. Jyotirindranath, an urban intellectual exchange views with the man of native wisdom. Their exchange of ideas forms the cinematic narrative of this film. The narrative is a saga of the life and time of Lalan Fakir and his liberal sect who lived a life of high order in an otherwise superstitious 19th century Indian society. Lalan inherited the best of the liberal and enlightened tradition of Hinduism, Buddhism and Islam to develop a philosophy of life which is extremely secular and tolerant. Thus became an easy prey for the fundamentalists from the Hindu and the Muslim institutions. They [THEY?]were the parallel stream flowing freely in the heart of rural Bengal when men like Tagore were germinating ideas of the Bengal Renaissance. The love and compassion of Lalan is relevant more than ever in today’s world of intolerance and hate.

The movie has been awarded the Best Film at the 41st International Film Festival of India held at Goa from 22 Nov to 02 Dec 2010.

Autograph is a 2010 Bengali film directed by debutant director Srijit Mukherji.
The movie is a humble tribute to both Satyajit Ray and to Uttam Kumar as it is on the lines of movie Nayak. In fact so much so the central character of the film is called Arun Chatterjee (Uttam Kumar’s real name). Such is the influence and inspiration behind making the film. Srijit’s touches make this a different film and also the story is a significantly different from Nayak.The film makes few references to great film makers like Ingmar Bergman or films like Wild Strawberries.It also alludes to the music of R.D. Barman and The Godfather.We also get to see pictures of the Bengali film maestro Ritwik Ghatak or Chhabi Biswas in his most memorable role in Jalshaghar on the wall of the studio.

The film starts with a proposal of remaking Satyajit Ray's famous film Nayak by a debutant director and storywriter Shuvobrata (Indraneil Sengupta) to famous actor of Bengali cine world Arun Chatterjee (Prasenjit). Arun approves Shuvobrata's proposal and also agrees to finance the project. Shuvobrata requests his live-in girlfriend Srinandita or Shrin (Nandana Sen) to play opposite Arun. In the mean time, Arun and Shrin become close friends, and Arun tells her about some of his past in an emotionally triggered condition, the whole episode getting videotaped accidentally. Shuvobrata leaks the video to the press, without the consent of Srinandita, as a publicity stunt for promoting his new film. Srinandita leaves Shuvobrata on hearing this. Arun, furious about the leakage, stops the release of the film. Arun later learns that Shrin had no role in the leakage and asks for pardon. The movie ends in a scene in which Shrin leaves a note and a number for Arun at a roadside dhaba where they met earlier.

Review website CalcuttaTube.com stated it as "A must watch film that would touch your heart and soul." It also said that the movie "offers insightful bytes into filmmaking/film-acting as choreographed on film, through carefully choreographed mise-en-scene, through imaginatively lit production design where the entire backdrop, plus the music and the sound motifs form a part of the cast and, through metaphorical music, matter-of-fact, no-nonsense dialogue with elaborately designed pauses and eloquent silences.