Bengali 4 Movie

Noukadubi (Bengali: নৌকাডুবি, "Boat wreck") is a Bengali film directed by Rituporno Ghosh, released on January 2011. The movie is a period film set in the 1920s, based on a novel by Rabindranath Tagore of the same name, although the credits claim that the film is ‘inspired’ by the Tagore novel because Rituparno Ghosh has taken the skeleton of the original story and woven it with his own inputs – cerebral and emotional.
The cast includes Prosenjit Chatterjee, Jisshu Sengupta, Raima Sen and Riya Sen. The art direction was by Indranil Ghosh. The film was also dubbed in Hindi and released on may 2011 under the name "Kashmakash". The film was produced by Subhash Ghai. Allegedly the Hindi version has been translated, dubbed and edited down by 30 minutes under Ghai’s own guidance, without the director’s involvement at all.
The original story by Tagore has been placed on celluloid several times including twice in Hindi – Milan (1946) directed by Nitin Bose with Dilip Kumar and Ghunghat (1960), directed by Ramanand Sagar with Bina Rai. Bengali versions came out in 1932, 1947 and 1979.

A tender romance blossoming in early Kolkata between law student Ramesh and his friend's sister Hemnalini, is nipped suddenly when his father sends an urgent and mysterious summons from his village home. There, the dutiful son is peremptorily ordered to marry Susheela, daughter of a hapless widow. Ramesh refuses, confesses that his heart belongs to another. But the widow's fervent plea softens him ultimately. And he concedes, albeit with a heavy heart. The wedding takes place with due ceremony; and Ramesh sets out with his bride on a river boat journey back to Kolkata.
Soon a fierce storm arises; the boat tosses helplessly and finally capsizes in the churning waters. Later that night, Ramesh comes to his senses on a deserted shore under a starlit sky. Some distance away, he sees the unconscious form of a young bride. Her pulse is still beating, and in response to his voice calling 'Susheela' she opens her eyes at last. There is no one else in sight, alive or dead. The two move off, take a train to Kolkata, the bride wondering why they were not going to Kashi, but trusting his judgment implicitly.
Hem, his true love, knows nothing of all this. Ramesh has been missing from the evening of her birthday party. They have learnt of his hasty departure from the city, but nothing else. Though she pines inwardly, she is confident that he will return soon.
Back in Ramesh's new home in Kolkata, the facts of mistaken identity gradually come to light. She is Kamala not Susheela. Her husband is a doctor named Nalinaksha Chatterjee. Ramesh writes an advertisement to trace his whereabouts; but he does not have the heart to break this news to the helpless trusting young girl in his care. He puts her into a boarding school instead. But soon, Hem's would be suitor Akshay comes to know of Ramesh's secret and brings proof positive to Hem. Ramesh, unable to handle such a scandal, seeks hiding in Gorakhpur with Kamala. A devastated Hem is brought to Kashi by her father to help her forget. There she meets Nalinaksha and they warm up to each other.
In the meanwhile, having read the advertisement in an old newspaper, Kamala realizes the enormity of the lie she has been living, and walks out determined to drown herself in the river. Ramesh returns and finds her suicide note, searches everywhere to no avail. He does not know that she has been rescued by a courtesan and deposited in Kashi under Nalinaksha's mother's care. Kamala now sees her real husband for the first time, but cannot speak up, for he is betrothed to Hem.
Finally, the advertisement she keeps knotted in her saree is discovered, and the whole truth comes to light. Ramesh finally traces Nalinaksha and arrives at his house.
The whole sorry mess raises many questions of head and heart and the validity or otherwise of social conventions. The viwers are left wondering whether true love will finally triumph.

Guerrilla is a Bangladeshi film based on the events of the Bangladesh Liberation War. An adaptation of the novel Nishiddho Loban by Syed Shamsul Huq, it was released on April 14, 2011.
'Nishiddho Loban', the novel, is written by the prolific Bengali writer Syed Shamsul Huq. It has been envisioned by the director of the film Nasiruddin Yousuf Bachchu. He has crafted the film GUERRILLA with his own experience as a leading fierce freedom fighter of 1971, sketching real incidents of those days. Guerrilla is a delicate, artistic rendition in moving images of the heroic deeds of the liberation war's valiant freedom fighters on an epic canvas. They were a distinguished generation, dedicated to a noble proposition that FREEDOM is Man's first and foremost right. It is not a gift.

On the ominous night of March 25, 1971, a heinous military operation, the Operation Searchlight an operation designed to kill indiscriminately the innocent democracy loving millions, was initiated by the Pakistan Army. The hated operation was just the beginning of the worst genocide to follow, a brutal crime against humanity after the Second World War. On that very night, Hasan Ahmed, a veteran journalist of the country, husband of Bilkis (Joya Ahsan), simply vanished while on his way to his newspaper office to perform his journalistic duty. He is untraceable till date. Bilkis was in banking profession. She started a desperate search for her husband and at the same time got herself engaged as a collaborator to the guerrilla operations which were gradually gaining momentum. She was not affected by her personal loss and pain, rather, undaunted; she chose the hazardous path to carry on the fight for our liberation. With the guerrilla fighters like Shahadat, Alam, Maya , Kazi Kamal, Fateh Ali and others operating in Dhaka, she started participating directly in many dangerous and successful operations. She was in constant touch with Altaf Mahmud, the legendary personality of Bengali Nation's musical arena and scorer of many revolutionary songs. She thus became the central character in the movie, also a target to the enemy. Bilkis, Shahin and many others got involved in the publication of a secret English News bulletin The GUERRILLA, obviously from the underground. Incidentally, at a particular point of time, Taslim Ali Sardar, a traditional Chieftain of the old Dhaka's subsector (Moholla), who courageously sheltered ill-fated Bilkis, got brutally killed by the Pakistani Army and their lackeys--- the hated rajakars. At one point, Altaf Mahmud, Rumi , Bodi along with some other freedom fighters were captured. Altaf and few others like him did never return, could never be traced, a tragic fact well known to us today. Bilkis, a lonely character now, could evade the worse, and tactfully leave the labyrinth- like barriers and traps set by the occupational army around Dhaka. She could get into a train to her home, Joleswari, a remote village at Rangpur. The metallic train transforms into a character, a symbolic one, a moving replica designed to depict a catastrophic journey. The parents of Bilkis were killed in the communal riots of the Bengalis and the Biharis in January '71 earlier.. She just was desperately longing to meet her own brother: Khokon at Joleawari. Khokon was then a commander of the local freedom fighters. Pakistan Army units were on the verge of collapse due to consistent fierce attacks initiated by those fighters. Khokon dynamited a vital railway bridge near Joleswari, interrupting all train movements. . She had to reach her brother. Nothing could deter her. She opted to walk. On her way, she got a young vibrant male companion, Siraj, a member of Khokon's fighting group. At one point Khokon was captured by the Pak Army. The brutal Army and Rajakar predators slaughtered him along with other captured freedom fighters. Bilkis wanted to have a glimpse of his dead brother, wanted to touch his apparently cold, inert body to feel the warmth of a loving brother, the heat of the fire inside him which no killer could extinguish. Khokon was a living, pulsating symbol of our ongoing freedom fight. She, risking her life, could enter the 'killing fields' of the occupants but was captured immediately by them. Bilkis was captured but she did never surrender to the heinous forces. For her country, for the entire freedom loving humanity, she did set up an example, a glorious one. She does not allow her body, the body of the fledgling Bangladesh, to be molested by the vultures of Pakistan. She blew herself up with explosives, destroying the surrounding mocking dogs in the process

Let’s admit the fact: this is a thorny world. Modern day thoughts and expressions are far from being simple and straight forward. Adults get in to complex relationships. There is so much filth visible everywhere. It’s a sheer wonder how Anindo Banerjee creates such an innocent film like Chaplin which is, arguably, the most remarkable debut of a Bengali filmmaker post “Pather Panchali”.
In the beginning of one’s career, there are always two options. One is become a paid servant. The other is to be a paid artist. No matter how small the pay is, an artist is an artist is an artist. Chaplin is a story of such a man. Bangshi Das is an impersonator of Charlie Chaplin. He earns peanuts by being the ‘joker’ at birthday parties. However, he prefers to call himself an actor rather than a worker. His life circles around his son who is the greatest critic of his performances. Poverty never seems bitter as the father-son duo knows how to make fun of it.

Padmanabha Dasgupta, as a screenwriter, has saved his best all these years. “Chaplin” is unquestionably unveils the pink of his creativity. The dialogues at times give us goose-bumps. A fantastic range of background score takes the movie to a different level. Kausiki Desikan’s ‘Patton ka hai jism jaanam’, composed by Indradeep Dasgupta and written by Srijato, is going to haunt us for many decades. Soumik Haldar’s camera is ‘invisible’. That’s where he excels as a cinematographer. The humble lighting gets eloquent.
Mir, the celebrated anchor and mimic, is reintroduced in this film as an actor. If this was his endeavor to break free from his popular light-hearted image, he’s definitely succeeded. Debutante Rachita Bhattacharya is like a breath of fresh air amid the visible ordinariness in Bangshi’s life. Young Sohom personifies childlike innocence. When almost every reality show on Bengali television encourages today’s children to behave like over-ripened adults, Sohom’s smile oozes childlike ease.
Rudranil Ghosh. “Chaplin” belongs to him. There is not a single actor, except Rudranil, in Bengali film industry right now, who could be considered for this role. How many times does it happen for any film?
Rudranil, in this film, tried to make us laugh for several times but he failed miserably as those are the times we cried the most. Rudranil’s eyes have never spoken so much before. Far beyond his mannerisms, Rudranil reaches a new high as an actor, as a performer and as an artist. After watching “Chaplin”, I don’t know any other Bengali actor who is more versatile than this little master.
A film like “Chaplin” has never happened before in Bengali films. It’s a momentous film which must be watched by everyone who wishes to see a new dawn in Bengali films. Yes, Rudranil is the sun.

Bye Bye Bangkok is a 2011 Bengali comedy film, directed by Aniket Chattopadhaya. It featured Swastika Mukherjee, Rajesh Sharma, Shilajit Majumdar, Rudranil Ghosh, Kharaj Mukherjee, Anjana Basu, Locket Chatterjee, Sonali Choudhury, Kanchan Mallik, Kanchana Maitra, Neel Mukherjee, Rajatava Dutta, Biswajit Chakrabarty, Phalguni Chatterjee, Kunal Padhi, Sudipa Basu and others.
The film has been shot in Bangkok and Calcutta

Movie Review: Brush aside the thoughts of " Bye Bye Bangkok" being a desi version of " Blame it on Rio".

If you want to enjoy a fun film that has a clever concoction of humorous one liners and knockout performances, "BBB" seems like a safe bet this season. The film revolves around the life of four couples played by Anjana-Silajit, Sonalee Chowdhury-Kharaj Mukherjee, Kanchan Mullick-Kanchana Moitra, Sujan Mukherjee-Locket Chatterjee. Sadly enough, everyone is so busy pursuing their dreams that they throw caution to the winds and engage in alleged extra-marital affairs only to find themselves trapped in embarrassingly amusing situations. The result is a clean comedy of errors on the sun-kissed beaches of Bangkok.

If there was a tie between what exactly works for Aniket Chattopadhyay's film, it would be between the director's script and the effortless performance by an able cast. Kanchan finally gets a role that should make other Tollywood directors regret why they never used his potential the way Aniket has. His body language as a gamcha-clad deity-obsessed worshipper or the scared-stiff cuckolded hubby who wants to get buried in the sand or hugs Anjana tight while saying 'ami apnake didir moto dekhi' is spot-on. So, is Rudranil in the role of a driver. Mark his comic timing in the scene where he opens his T-shirt, pulls it to cover his face and then takes it off completely before retiring to a deck-chair. And then, there is Kharaj as the crass promoter who is perpetually speaking wrong English and creating a laugh riot of sorts. If these three act with their body language as well as the sheer power of the situational comedy, Silajit, Anjana, Kanchana, Sonalee and Sujan rely more on Aniket's lines. If Kanchana is decent as a small-time model-cum-mistress, Anjana is the right cast as the much-ignored yet educated college lecturer who wants to prove a point. Sonalee as the award-obsessed social worker gives enough scope for Aniket to pen the dialogues that take a dig at what goes into the making of the city's internationally awarded films. Award-winning directors in this city might not take too kindly when Silajit insists that the must-have ingredients for an award-winning movie are: "Nongra bosti, aborjona, matal, beshya, kata ghuri, banshiwallah, gas balloonwallah, baaj pora taalgaach". The audience, however, will enjoy a good laugh over it. Not forgetting Swastika, who looks and acts the bimbette, and Biswajit Chakraborty's bit role of a fix-it-all travel agent. Of course, there are moments when the film slips into the slapstick mode and becomes repetitive. Thankfully, the razor-sharp characterization doesn't allow the attention to dwindle and soon enough, there are other situations that get the audience in splits.

Though the film is a light-hearted comedy, there is a twist in the tale at the end that makes for quite a strong comment on the hypocrisy and essential selfishness of people desperate to protect their image in the urban life. This sure can be a bonus for those who pause to take note of it. But for those who don't, the film will still have a lot to carry back a smile home.

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1. Paglu Title Song - Mika Singh

2. Monbebagi - Kunal Ganjiwala and Rana Majumdea

Thank You

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.

Amanush (also spelt as Amanus ; English: The Inhuman) is a 2010 Indian Bengali-language drama film written and directed by Rajib Biswas, starring Soham Chakraborty and Srabanti Malakar in lead roles, whilst newcomer Rehaan Roy, Saswata play supporting roles. The film, which has music scored by noted musician Jeet Ganguly and cinematography handled by Kumud Verma, to be released on April 2010. The film is officially a remake of the 2003 blockbuster superhit Kaadhal Kondein starring Dhanush and Sonia Agarwal, respectively. This film was already remade into Bangladesh, name Anya Manush in 2004.
The story explores the mind of a youth who is mentally and physically abused in his childhood. The lack of a mother's love haunts the protagonist throughout the film as the girl of his infatuation parts him in her death. Turning into a psychopath, he desperately tries to woo his newly found lady love and his efforts culminate in a superb nail-biting cliffhanger.

Vinod (Soham Chakraborty), who orphaned at an early age,has grown up under the care of a church father (Nagesh) in North Bengal, is an introvert but a genius. He is forcibly sent to college by the father but is a complete misfit in class.One day he solves a complex Mathematics problem in class surprising his classmates. Though shunned by the rest of his class, Ria (Srabanti Malakar) becomes his friend and he gradually warms up to her too. His feelings soon turn into love but he realizes that Ria considers him as only a friend. But he is unwilling to let her go. Meanwhile Vinod learns that Ria is in love with another classmate, Aditya (Rehaan Roy).
Ria's father is angered on learning about her love. He shuts her up and prevents her from contacting anyone. But Vinod comes and meets her on the pretext of getting some old clothes for himself to wear. Pitied by Vinod, her father allows him. But Vinod uses the chance and escapes with Ria. He convinces her that she will meet Aditya at .
Vinod has set up a secret place in for executing his plan of wooing Ria. He makes her stay with him, while convincing her by talking about the never-impending Aditya's arrival. On one such day, he reveals his miserable past, where he is made to work for paid labour after being orphaned at an early age. He revolts against the oppression one day against the illegal child labour in vogue at his place. Promptly he is beaten black and blue for his profanity. Moreover he also loses his girlfriend to rapists in that place, who also kill her. Somehow he manages to escape from them and seeks refuge in the place of a church father.
Ria is really touched by his past. Incidentally the police and Aditya arrive at the place. While Vinod was away to get some food, they try to make Ria understand that Vinod was a psychopath. Yet Ria scoffs at their claims, citing his gentlemanly behaviour over the days she was put up alone with him. Vinod, learning that the police have arrived at the scene, begins to indulge in mass violence. He opens fire, killing a police constable. Forcing them out of their hideout, he manages to evade the police Inspector and Aditya and successfully brings Ria back to their original place of stay.
Ria soon identifies the tiger out of the cow's skin. Vinod pleads with her, telling her that all he wanted in his life was her presence with him. But Ria called him a friend and stated her inability to accept him as her partner for life.
Meanwhile Aditya regains consciousness and comes back to attack Vinod and rescue his girlfriend. A violent fight follows, where Vinod defies his puny self and treats Aditya with disdain. The fight culminates with Vinod, Aditya and Ria finding themselves at the edge of a cliff.
While Ria clutches a tree bark tightly, Vinod and Aditya slip out and barely manage to hold either of her hands. Ria is forced to a situation where she needs to choose between her boyfriend and friend. Aditya's pleas notwithstanding, Ria doesn't have the heart to kill Vinod. The epic of a cliffhanger finally ends with Vinod smiling wryly at Ria and letting go of her hands himself. He falls dead into the deep valley.
Vinod (Soham Chakraborty), who orphaned at an early age,has grown up under the care of a church father (Nagesh) in North Bengal, is an introvert but a genius. He is forcibly sent to college by the father but is a complete misfit in class.One day he solves a complex Mathematics problem in class surprising his classmates. Though shunned by the rest of his class, Ria (Srabanti Malakar) becomes his friend and he gradually warms up to her too. His feelings soon turn into love but he realizes that Ria considers him as only a friend. But he is unwilling to let her go. Meanwhile Vinod learns that Ria is in love with another classmate, Aditya (Rehaan Roy).
Ria's father is angered on learning about her love. He shuts her up and prevents her from contacting anyone. But Vinod comes and meets her on the pretext of getting some old clothes for himself to wear. Pitied by Vinod, her father allows him. But Vinod uses the chance and escapes with Ria. He convinces her that she will meet Aditya at .
Vinod has set up a secret place in for executing his plan of wooing Ria. He makes her stay with him, while convincing her by talking about the never-impending Aditya's arrival. On one such day, he reveals his miserable past, where he is made to work for paid labour after being orphaned at an early age. He revolts against the oppression one day against the illegal child labour in vogue at his place. Promptly he is beaten black and blue for his profanity. Moreover he also loses his girlfriend to rapists in that place, who also kill her. Somehow he manages to escape from them and seeks refuge in the place of a church father.
Ria is really touched by his past. Incidentally the police and Aditya arrive at the place. While Vinod was away to get some food, they try to make Ria understand that Vinod was a psychopath. Yet Ria scoffs at their claims, citing his gentlemanly behaviour over the days she was put up alone with him. Vinod, learning that the police have arrived at the scene, begins to indulge in mass violence. He opens fire, killing a police constable. Forcing them out of their hideout, he manages to evade the police Inspector and Aditya and successfully brings Ria back to their original place of stay.
Ria soon identifies the tiger out of the cow's skin. Vinod pleads with her, telling her that all he wanted in his life was her presence with him. But Ria called him a friend and stated her inability to accept him as her partner for life.
Meanwhile Aditya regains consciousness and comes back to attack Vinod and rescue his girlfriend. A violent fight follows, where Vinod defies his puny self and treats Aditya with disdain. The fight culminates with Vinod, Aditya and Ria finding themselves at the edge of a cliff.
While Ria clutches a tree bark tightly, Vinod and Aditya slip out and barely manage to hold either of her hands. Ria is forced to a situation where she needs to choose between her boyfriend and friend. Aditya's pleas notwithstanding, Ria doesn't have the heart to kill Vinod. The epic of a cliffhanger finally ends with Vinod smiling wryly at Ria and letting go of her hands himself. He falls dead into the deep valley.