Ritwik (Kumar) Ghatak

Ritwik (Kumar) Ghatak (Bengali: ঋত্বিক (কুমার) ঘটক, Rittik (Kumar) Ghôţok (help·info); 4 November 1925 – 6 February 1976) was a Bengali Indian filmmaker and script writer. Ghatak is considered to be one of the greatest and most significant filmmakers in Indian and Bengali cinema as well as the world. His stature among Indian directors is comparable to that of Satyajit Ray. In 1948, Ghatak wrote his first play Kalo sayar (The Dark Lake), and participated in a revival of the landmark play Nabanna. In 1951, Ghatak joined the Indian People's Theatre Association ( IPTA ). He wrote, directed and acted in plays and translated Bertolt Brecht and Gogol into Bengali. In 1957, he wrote and directed his last play Jwala (The Burning). Ghatak entered the film industry with Nemai Ghosh's Chinnamul (1950) as actor and assistant director. Chinnamul was followed two years later by Ghatak's first completed film Nagarik (1952), both major break-throughs for the Indian cinema.  Ghatak's early work sought theatrical and literary precedent in bringing together a 　documentary realism, a stylized performance often drawn from the folk theatre, and a Brechtian use of the filmic apparatus. Ghatak's first commercial release was Ajantrik (1958), a comedy-drama film with science fiction themes. It was one of the earliest Indian films to portray an inanimate object, in this case an automobile, as a character in the story. Ghatak's greatest commercial success as a script writer was for Madhumati (1958), one of the earliest films to deal with the theme of reincarnation. It was a Hindi film directed by another Bengali filmmaker Bimal Roy. The film earned Ghatak his first award nomination, for the Filmfare Best Story Award. Ritwik Ghatak directed eight full-length films. His best-known films, Meghe Dhaka Tara (The Cloud-Capped Star) (1960), Komal Gandhar (E-Flat) (1961), and Subarnarekha (Golden Lining) (1962), a trilogy based in Calcutta and addressing the condition of refugee-hood, proved controversial and the commercial failure of Komal Gandhar (E-Flat) and Subarnarekha prevented him from making features through the remainder of the 1960s. In all three films, he used a basic and at times starkly realistic storyline, upon which he inscribed a range of mythic references, especially of the Mother Deliverer, through a dense overlay of visual and aural registers. Ghatak moved briefly to Pune in 1966, where he taught at the Film and Television Institute of India (FTII). During his year at FTII, he was involved in the making of two student films, viz., Fear andRendezvous. Ghatak returned to film making only in the 1970s, when a Bangladeshi producer financed the 1973 epic Titash Ekti Nadir Naam (A River Called Titas). Making films became difficult because of his poor health due to extreme alcoholism and consequent diseases. His last film was the autobiographical Jukti Takko Aar Gappo (Reason, Debate And Story) (1974), in which he portrayed Neelkantha (Nilkanth) the lead character.  He also had a number of incomplete feature and short films in his credit. Ghatak's father Suresh Chandra Ghatak was a district magistrate and also a poet and playwright; his mother's name was Indubala Devi. He was their 11th and youngest child. His elder brother Manish Ghatak was a radical writer of his time, a professor of English and a social activist who was deeply involved with the IPTA theatre movement in its heyday and later on headed the Tebhaga Andolan of North Bengal. Manish Ghatak's daughter is the writer and activist Mahasweta Devi. Ghatak's wife Surama was a school teacher and his son Ritaban is a film-maker.

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