Celebrating Ritwik Ghatak: A Centenary Anthology of Essays

A Tribute to Ritwik Ghatak's Legacy

Friends, family, collaborators, and admirers of Ritwik Ghatak have come together to honor the Bengali filmmaker's centenary with a compelling collection of 50 essays. This anthology, released on November 4, resonates with diverse perspectives, reminiscent of Ghatak's last film, Jukti Takko Aar Gappo (Reason, Debate and a Story), from 1974.

Titled Unmechanical – Ritwik Ghatak In 50 Fragments and published by Westland Books, this compilation, edited by Shamya Dasgupta, features fresh articles, archival pieces, interviews, rare photographs, poems, and illustrations inspired by Ghatak's cinematic works.

One notable section includes Ghatak's insights on cinema and art. In a 1960s interview, he expressed his motivation for filmmaking: “For the people. What else is there but people? The last word in all art is the people.”

Ghatak passed away in 1976 at the age of 50, having directed eight feature films along with several documentaries and shorts. His unfinished projects reflect the unrealized aspirations of a communist visionary whose life was marked by intense intellectual pursuits, personal struggles, alcoholism, and the lasting impact of the 1947 partition of Bengal.

His films, such as Ajantrik (1958), Meghe Dhaka Tara (1960), Komal Gandhar (1961), Subarnarekha (1965), and Titas Ektir Nadir Naam (1973), were often overlooked during their release but have since gained significant recognition. Ghatak's storytelling, which delves into themes of dispossession and the complexities of post-Partition Bengal, continues to resonate with audiences.

In 1966, Ghatak's teaching role at the Film and Television Institute of India introduced him to a new generation of filmmakers, including notable figures like Mani Kaul and Kumar Shahani. He also briefly ventured into Hindi cinema, contributing to screenplays for Musafir (1957) and Madhumati (1958).

Shamya Dasgupta, in his editor's note, reflects on Ghatak's lack of recognition during his lifetime, suggesting that the affection expressed in this anthology might have brought him some solace, although he humorously speculates that Ghatak might have dismissed it as insincere.

Dasgupta, a sports journalist and author, has previously written books such as Don’t Disturb the Dead: The Story of the Ramsay Brothers and Bhiwani Junction: The Untold Story of Boxing in India. As Ghatak's grandnephew, he draws on personal connections to enrich Unmechanical.

The introduction is penned by actor-director Parambrata Chattopadhyay, another grandnephew of Ghatak. The anthology also includes a translated essay by Mahasweta Devi, Ghatak's niece, and a piece by Bangladeshi activist Aroma Dutta, who describes Ghatak as a force of nature who profoundly impacted the world.

Contributors to the anthology include Adoor Gopalakrishnan, Moinak Biswas, Madhabi Mukherjee, Sumana Roy, Jayant Kaikini, and Goutam Ghose. The collection also features insights from composer Bhaskar Chandavarkar on Ghatak's innovative use of music and actor Anil Chatterjee's experiences on set.

Dasgupta shared that Unmechanical originated from family discussions in 2024 regarding Ghatak's centenary. Initially aiming for 30 essays, the number grew to 50, a fitting tribute considering Ghatak's age at his passing.

How did you assemble Unmechanical?

Some essays were already in my possession, including those by Mahasweta Devi and Ghatak's own writings. I reached out to filmmakers, scholars, and family members for their perspectives. While some desired contributors were unavailable, others I discovered through recommendations provided valuable insights.

What was your vision as the editor?

I aimed for a diverse range of voices to ensure the anthology was neither overly academic nor solely nostalgic. I wanted to include essays on his writing, theatre, and personal reflections, creating a well-rounded tribute.

As I delved deeper into the material, I became eager to incorporate more voices, including actor Biswajit Chatterjee, who contributed his essay just before publication.

Was there sufficient material available? What is the status of the Ritwik Ghatak archive?

There is a wealth of material, particularly in Bangla. I consulted various books and visited the Ritwik Memorial Library in Kolkata to gather resources. However, the archive's condition is concerning, as much material has been lost or misplaced over the years.

Did you face any resistance from the family regarding the book's content?

Not at all. Ghatak's struggles with alcoholism and personal issues are well-known, and acknowledging these aspects was essential for a comprehensive portrayal of his life.

Four family members contributed essays, alongside translations of works by Mahasweta Devi, Pratiti Devi, and Nabarun Bhattacharya, ensuring a rich family perspective.

What does the title Unmechanical signify?

The title Unmechanical was inspired by one of Ghatak's films, Ajantrik. It suggests a humanistic approach, reflecting Ghatak's nonconformist and iconoclastic nature. The subtitle, ‘fragments,’ aptly represents the collection of essays that together narrate Ghatak's fragmented life and career.

What are your thoughts on Ritwik Ghatak’s films?

I admire Ghatak's cinema, though I believe that some of his works require a certain maturity and cinematic knowledge to fully appreciate. His themes of homelessness and identity remain relevant today, as the issues he addressed continue to persist globally.

Revisiting his films during the book's preparation deepened my appreciation for his artistry, particularly his visual storytelling and sound design. My personal favorite is Subarnarekha, which I consider one of the greatest films ever made, alongside Meghe Dhaka Tara and Ajantrik.

What is Ritwik Ghatak’s legacy?

Ghatak's legacy is immense and remains relevant today, as evidenced by the ongoing celebrations of his centenary. While he may not have achieved the same level of popularity as Satyajit Ray, his films are gaining renewed interest, with restored versions becoming more accessible.

New filmmakers are beginning to recognize Ghatak's influence, and his work is increasingly being discussed in contemporary cinema. His films address timeless issues of displacement and identity, making them as significant now as they were decades ago.

Do you see echoes of his work in contemporary filmmakers?

While mainstream cinema may not reflect his influence directly, many filmmakers acknowledge Ghatak's impact on their work. He was a remarkable teacher, and his legacy continues to inspire new generations of filmmakers.

Celebrated directors like Saeed Mirza and Goutam Ghose have also been influenced by Ghatak, and his recognition by figures like Satyajit Ray and Martin Scorsese has further solidified his importance in film history.