When Sen conceived ‘ Ek Din Achanak’, his long-time associate Sanjoy Bhattacharya, decided to follow the maestro to document the making of the film. Hauff’s documentary was a dialogue between two filmmakers from two different continents but with similar problems and concerns. While one new project is a feature film by Kaushik Ganguly that looks back at his ‘Kharij’, the three others by Srijit Mukherji, Anjan Dutt and Arindam Saha Sardar are partially biographical. On his 99th birth anniversary on Saturday, there is news of new works being on the anvil. The interest spilled over to this century with the likes of Chidananda Dasgupta and Nripen Gangopadhyay. It began in the ’80s with Abhijit Dasgupta’s ‘Mrinal Sen’ (1981) and German film director Reinhard Hauff’s ‘Ten Days in Calcutta - A Portrait of Mrinal Sen’ (1984).
Instead, the set as artifice insistently draws attention to its constructed nature and, in fact, relies, for its legibility and evocative power, on this “unreality effect.” The author's aim is to show how this unreal city emerges, in part, out of popular cinema's encounter with the Indian left cultural movement and leftist street theater of the 1940s, and how it functions as a “cinetopia,” a heterogeneous space of utopian longings and dystopian disenchantment.Kolkata: Since 1981, director Mrinal Sen has piqued the interest of many filmmakers who have made documentaries on him or his works. The urban landscape created through these musical performances and the often highly stylized studio sets is not meant to be read as an authentic representation of real-life locales. The author analyzes how these musical sequences use performance, music, and set design to reimagine the metropolis as a site of social critique and utopian fantasy. Ramesh Saigal, 1958)-that featured Bombay in a prominent role and delivered it to the Indian public as an iconic space oscillating between exuberance and disenchantment. Rawail, 1956), as well as less commercially successful films such as Phir subah hogi ( Dawn Will Come Again, dir. Guru Dutt, 1954), and Pocket maar ( Pickpocket, dir. Raj Kapoor, 1955), Aar paar ( This Way or That, dir. Raj Kapoor, 1951), Shree 420 ( The Gentleman Cheat, dir. Raj Khosla, 1956), Awara ( The Vagabond, dir. This article focuses on the mise-en-scène of musical sequences-from popular Hindi films such as C.I.D.
The city of Bombay emerged as an emblematic space of India's postcolonial modernity in Hindi cinema during the 1950s, India's first decade of independence.
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