#JAY JAYANTI BENGALI MOVIE MOVIE#
#JAY JAYANTI BENGALI MOVIE PROFESSIONAL#

This film was based on a typical crypto misogynist story that privileged the husband as the one who, like Ram of the Ramayan, tested his long lost wife in the crucible of multiple tribulations.

#JAY JAYANTI BENGALI MOVIE MOVIE#

Thanks to her directors such as Agradut (Bibhuti Laha et al.), Ajoy Kar, or Nirmal Dey, to name a few, the template of SuchitraвЂ™s ideal middle-class woman image was constructed by the movie that brought her to limelight, Agnipariksa (1954). Consequently, the ideal of womanhood continued to be predicated on patriarchal prescription for restraint, sacrifice, and abnegation on the part of a woman. The explosion of immigants and refugees from the then East Pakistan, the so-called homeless or bastuharas, had impacted the society of the metropolitan bhadraalok, while despite some superficial honeymooning with westernization the middle-class morality of Bengal still clang adamantly to the repressive norms of traditional patriarchy.

Suchitra SenвЂ™s debut in the Calcutta filmdom must be assessed against the socio-cultural milieu of post-independent India. Underneath the plethora of platitude and panegyric, the real Roma lies hidden - much like a heavily veiled child bride of rural Bengal.

Shoma ChatterjiвЂ™s elegant but extravagantly crafted story of her life adds another jewel on the crown that Ms Sen wears, even posthumously, along with the syrupy and silly encomia for her вЂњethereal,вЂќ вЂњincandescentвЂќ beauty, regal personality, compassionate heart, and above all, her mystifying spirituality. Consequently, as is usual in India, especially in Bengal, she has been the subject of a mammoth mythopoesis in scores of biographies - most powerfully in Suchitrar Katha (1992), by the journalist Gopalkrishna Ray, that has added to the idealized, even surreal, image of this femina perennis from Pabna, Eastern Bengal (now Bangladesh).

#JAY JAYANTI BENGALI MOVIE PROFESSIONAL#

Suchitra undoubtedly was the heartthrob of millions of cinegoers in the halcyon days of her professional life. Suchitra Sen has a rightful claim to the Hollywood director Billy WilderвЂ™s (1906-2002) tribute to the late Audrey Hepburn (1929-93), the pretty prodigy of Roman Holiday (1953), that вЂњGod kissed on her cheek and there she was.вЂќ Interestingly enough, the film Sade Chuattor of 1953 also launched SenвЂ™s triumphant career for the subsequent decades.

In other words, Sen popularized the quintessential Hindu womanhood by portraying female character predicated on pugnacious morals, sacrifice, and abnegation, while Chattopadhyay highlighted the image of an ascetic Adonis - disciplined, moral, but potentially an erotic alpha male like Lord Shiva of mythology. The predominance and popularity of this dynamic duo owed as much to their unquestionable good looks and histrionic talent as to the role model they provided via their portrayal of ideal Indian (especially Bengali) man and woman: a sexually innocent virgin male, upright, patriarchal, and excessively idealistic and a nurturing, compassionate, tolerant mother figure, whose femininity finds its fulfillment in being wife, mother, or mentor to a heroic young man. The fifties and sixties of the past century constitute la belle Г©poque of Bengali romantic film presided over by the legendary matinee idol pair of Suchitra Sen (aka Roma Dasgupta, 1931-2014) and Uttam Kumar (aka Arunkumar Chattopadhyay, 1926-80).

Jay jayanti bengali movie