Palabras clave Ghatak. Ritwik de obra la en Partición la de trauma el estudia artículo Este gobierno indio. d el antipopulares políticas por las agravado vio se independencia de proceso el con iniciado media clase la de social descenso el Por parte, otra y miseria. segregación hogar, desempleo, sin personas de consecuencias las con precedentes, sin población de trasvase un también sino países, dos en subcontinente del división la ya no supuso Independencia La tragedia. aquella de crónica obra una su de hizo indios, mejores los de cineastas uno Ghatak, Ritwik religiosa. violencia de pesadilla una en India de emancipación sueño de el convirtió Partición La Resumen refugees. Keywords films. Ghatak’s Ritwik it by analysing people experienced the way the and Partition of trauma the ongoing at look will chapter This post-independence. adopted government Indian the that model anti-people of the aresult but alone also of partition not because was lower class into the class middle However, of the reduction impoverishment. the abject and unemployment,segregation people to led homelessness, inevitably of This people. migration mass but the subcontinent in of the partition the not in only resulted of India independence tragedy. The mass this chronicling of function thecrucial served India, of makers film tant impor the onemost of Ghatak, Ritwik violence. communal of nightmare horrific into the itself transformed rule colonial of India’s British from independence dream the Partition At Abstract Ghatak, Traición. Ghatak, Revista Canaria de Estudios Ingleses Estudios de Canaria Revista : Betrayal, Exodus, Ritwik Ghatak, Homelessness, Independence, Partition, Partition, Independence, Homelessness, Ghatak, Ritwik Exodus, : Betrayal, PARTITION AND THE BETRAYAL OF INDIA’S BETRAYAL THE AND PARTITION :

Exilio, Independencia, Partición, Personas sin hogar, Refugiados, Ritwik Ritwik hogar, Refugiados, sin Personas Partición, Independencia, Exilio, INDEPENDENCE: ANANALYSIS OF INDEPENDENCE: DOI: https://doi.org/10.25145/j.recaesin.2018.76.07DOI: RITWIK GHATAK’SRITWIK CINEMA Diamond Oberoi Vahali Ambedkar University, Delhi Ambedkar , 76; April 2018, pp. 91-101;, 76; April e-2530-8335 ISSN: -

REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 91 REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 92 formation of the communal psyche as presented in Ghatak’s short film Yieh Kiun short film presented Ghatak’s in as psyche formation of communal the the part first explore the in of Iwill yet dimensions Partition existential and psychic Cloud Capped Star, Star, Capped Cloud Tara Meghe Dhake like ( films in especially of exile, beingness the and Partition of dimensions existential and enters cinema into deep Partition, psychic his the of aspects historical of socio-economic, on people. lives the the impact Exploring eventand its this of the dynamics an understand attempt areto thus films His 19). Gargan and (Rajadhyaksha argument” reality... silences that simple the tale forever, roopkatha to anew create Ihave not without ability and that the writes: he that have noin He “I longer find lost could Bengal. Bengal West East in for seen he what had completely been had eliminated, childhood of his (fantasy) roopkatha the intensely felt that form, Ghatak art his determined that artist of an 19). dynamics unconscious the it was Gargan that and Believing (Rajadhyaksha am notablehave I I seen What show”to me: like maker. No lost onehas a film [...] my me give back past? But no is work who will at all. nothing, But Iam fairy he is to what do?provision [...] past of his unsupported, Awork pastless, is which of the career,tive however, to work, one bankrupt if goes when one beginning is “At of he acrea states one In start interviews the of his Bengal. East erstwhile the homeland in from his exiled people many so was he with along and partitioned making. of film direction the agony of people in the drove him the of expressing means powerful asingularly but as cinema theatre in participated passionately he felt,do wonders. appeal, could Ghatak its mass with cinema and literature, than much is more theatre effective communication spontaneous and of immediate terms in It to aconviction that life. led him point his in aturning as Nabanna famine. about Bengal the version of revised Bijonthe Nabanna Bhattacharya’s People’sjoined Indian the (IPTA, Association andin 1942) Theatre in acted 1948 he Eventually of Bengal. magazines leading short stories in of his published several awriter, as he (1943) Beginning politics. famine Marxist joined active Ghatak Second World the In cal. War, Movement Quit India the (1942) Bengal the and deeply politi was that aconsciousness with him charged around surroundings the atmosphere and family uprising. His Marxist and awakening political up amidst of of context Partition Bengal. the the in tragedy mass this chronicling function of thecrucial served India, of makers film important Ghatak (1925-76),Ritwik people.of partition of its nightmare rific onethe most of into hor itself the India’s transformed rule independence colonial British from the of dream The subcontinent Pakistan. and into got India divided Indian when the He could neither undo the historicity of this event nor it. ofHe neither reconcile with this could historicity undo the Punjab, was 1947,In especially of India, other parts with along Bengal 1925, grew in Born subordination, Ghatak and turmoil of political atime 1947, took in place tragedies human one of most painful Asia the South In 1960) and Subarna Rekha Subarna revolutionized Ghatak’s thinking and served served and thinking revolutionized Ghatak’s I

(1962).the I do Though trace not ( New Harvest, 1944),New Harvest, aplay out of my The The - - -

in order to attain Independence: orderin to attain Liberation Movement National Indian by the India Mountbatten to partition Plan of the of acceptance the baselessness the and futility the states he clearly interviews but one absolutely In of his brutal. not he felt only unnecessary was this nation and of perialists’. division the the Moreover possible made through Independence was of Im the that governmentthan no adopted better had was Indian the model that the yet thehad left, Britishers Though asham. was rule colonial British from the India’s for independence. dream of betrayal agrand as perceived by him was of which Partition aftermath historical of socio- the matrix the within attempt cinema to explore an is paper Ghatak’s the of part second The cinema. in Ghatak’s Bengals two the of fordesire unification ( ness a grotesque death. It is at this moment that Ali and Nayak no longer remain no longer Nayak remain and moment It Ali at a grotesque this is death. that ness wit other, to save they each until try they riots, communal Amidst struggle. of this for independence futility now the the of nation and the bemoan struggled had they when days the recall nostalgically They riots. communal situation amidst precarious avery in anumber of years who after meet Nayak, and Ali friends, childhood close Yieh In them. Kiun using and victimizing are basically that forces with themselves to align begin and destruction own of their instrument the people level, become that adeep-seated at such divisions creates war. Communalism he/she ofpersonal a hegemony that process the convinced fighting is is through form of violence; subtlest individual state wherein the the notion of communalism, Yieh Kiun short film his explores in Ghatak nation, that out the in carried was Partition the which in manner latter, the is whenbrutal the followed. It that riots communal the in itself people by manifested the which ance andtheaccept of Mountbattenits the Plan signing planes: significant two across The Question The Like Marxists, Ghatak strongly believed that the independence the of India that believed strongly Ghatak Marxists, Like Ghatak explores the genesis and the possibility of the division of nation of division the the possibility the and genesis explores the Ghatak 13) Pal (Atanu everywhere. do so Iwill and I scream again, andabout I repeat spoken it also say, to earlier have I trying am That’s I what of Independence. name the Movement in Liberation gothold seats of the National it but our against was Movement. Gandhi Liberation whole National country’s the forbetrayed power. They Britishers the and Mountbatten Lord with pact this made leaders But country. our the to leave them compelled have we would lives, more few a sacrificed have could and for some protest more days vocal our tained sus continued, have could days, morefor some few fight the continued just have could If we condition. completelyshaky in a time that at were They Mutinies. these about everything suppressed The Britishers these. about knows Nobody Madras. in Mutiny force Bombay, Mutiny in Air the Naval then the then shook everything, That Movement.the August came 1942 Then of anger. full people were so the vehemently... working was on image people’s impact his astrong mind, He created Bose. Chander From Subash one end came collapsed. had heroes these all Churchill, Americans. the but for finished were They of war. because collapsed economy had The broken down. or totally finished was time that at India in Empire The British , 1970). This part also develops the underline discourse related to the to related , 1970).discourse underlinethe develops also part This . The film problematizes the film problematizes . The , Ghatak presents two presents two , Ghatak - - - -

REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 93 REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 94 Gandhar Gandhar reduction” Komal in 13). Pal this (Atunu dure to feeling see reiterates this Ghatak shelter, ‘ became seeking them they ‘ play on Dolil commenting his While about it. nothing we did and cut into and two divided been had here country the but a toy angry we get breaks a child if that said some has poet that characters, his should one pardon or forgive it. should nor not accepted be he asserted, of Hence division Bengal the divided. be cannot boundaries political and geographical all people that single despite fact the and a to related andculture love was believed, he Bengal, issue Theof imposed. and absolutely it was as artificial to vehementlyneeds of oppose division Bengal the 77). (Ghatak Bengalese” on awhole to leave its generation scar was of that migration to amass leading and people acommon inheritance asingle with dividing of Partition Bengal, the ence, Independ “on with and Hindu-Muslim riots, the of eve Independence the came writes, Ghatak feeling vent Giving to this degradation. hence moral and rootlessness created inherently and exists aculture on roots which very the It smashed a culture. but of division division the not merely was ageographical division, which was result people. but asingle The process divided the not only expedited of communalism form of nation. the State the in possible made partition the and statehood attained actually Pakistan and India that of communalism instrument the by using it was Thus into apuppet system. him/her of converts adivisive and individual, into an hegemony infiltrates power presents the of that and communal individual of an the dissolves notion subtly film The are. hegemonic processes communal the seated how depicts and riots deep- communal operative during psychosis fear presents the other.each Ghatak kill end the of film the towards defence self in and intimidated identities. suddenly feel but They of become representatives communal individuals (Ghatak 76). (Ghatak and sham” a fake is a Independenceon theof name peoplemy which in inflicted untold Ihave seen miseries Pakistan, from East aBengali “Being states, He further liberation” of 1987: national (Ghatak betrayal great due to this 80). changing was pattern how behaviour the happening, was “I what kept just onrestates; watching 92). He Gangar and event” (Rajadhyaksha of this historicity the role changing in Ihave no balkanisation. by causing country this with drakes and played ducks integration. They of cultural terms in thought he “I says: always interviews of his he one to never In which reconciled. segregation cultural of a certain cause the was andeconomics politics of people. the life This economic political the and shattered people reunited. be asingle soonerthat or later will to state and division and of communalism aura this attempt to demystify an is there am cinema, not his Throughout a I refugee.” cattle, and haveland “I states, film the Vasthuhara (dispossessed) In In one yet have passed, years many so though that states further Ghatak Further he felt that the division of Bengal and Punjab was shocking as it as shocking Punjab was and of division Bengal he the feltFurther that ( E-Flat Bari Theke Paliye (Run Away Away (Run Paliye Theke Bari 1961) when a character from the first theatre performance within 1961)within performance theatre first from the when acharacter ’, who had been compelled to leave everything, and I saw Isaw and ’, to compelled leave been everything, who had Sharannathsi (refugees) , he writes, “then with my own eyes I saw this this Isaw my “then eyes , he own with writes, 1959) one of through he states explicitly .’ Isimply not could en - - of this new regime. new of this aspects different several of Independenceon people name by the the portraying in most violently inflicted untold to he the reacts point oeuvre, miseries of Ghatak’s Juktiof independence In the Takko of India. Ar Gappo Bengals. two the of of unification the discourse bottom-line Ghatak’s reflects dialects different speaking reunion ofthe characters on other its antinomy, the developed while notion the further of is hand division on one the of level at the discourse; arena opens up adialogic Ghatak that Bengali of dialects several It by is juxtaposing dialect. Bengali East the her family, speaks Tara Meghe Dhake In dialect. Bengali West the who speak Neelkantha and Nachiketa against as dialect Bengali East the Jukti Takko in Similarly Ar Gappo dialect. Bengali West the speak Bengal, from East refugees are they who, though Hariprasad and Ishwar, with Sita, Abhiram juxtaposed is Kaushalya dialect. Bengali East the speaks Abhiram’s mother who Kaushalya, against as dialect Bengali Behari the speaks Rekha Subarna in foreman the Mukherjee, dialect. West in Bengali who speaks Nayak against as dialect Bengali East the speaking presents Ali Ghatak Yieh Kuin, film script his film short the of In dialects. different altogether speaking characters presents Ghatak films, his all almost In dialogic. turns thus The division. domain and contexttheexile of constitutes dialects The itself. of juxtaposition language of discursivites thestructural cinema within buthis of configurations structural West and borderspeople the Bengal. of across East the among 1974), similarities the aStory and surface to the brings he once again Jukti Takko in and Rekha Subarna Ar (Argument Gappo in especially cinema, his in dialect Bengali incorporation of East the the through abandonment. Similarly and of exile myth the of theme with Partition contemporary the hence connecting and mythicizing on other, the and, reconciliation further one suggesting the hand Ramayana from the characters (the legendary Sita Rama and Gandhar alongin 39). (Ghatak all of marriage” while music Thus rings separation and of pain scenes during even songs, of for persistent oldcounts use the marriage central theme for theme Komal Gandhar central people. despite asingle “The constitute He which division states: the nation states divided two to need reunite the the Sita’s and of signifying Ram sings wedding, Komal In Ghandar works. his in theme basic the forms integration of country,gration for need the the cultural Moreover through his films he sets a scathing inquiry into consequences the inquiry scathing a sets he films his Moreover through of discourse theand‘exile’, Thus thematic is embedded the not in merely As Ghatak refused to reconcile himself with the political-cultural disinte political-cultural the with to reconcile himself refused Ghatak As we witness separation at the visual level, music the of of theme union the visual at the separation we witness , the soundtrack contrary to the narrative of division narrative to the contrary soundtrack , the was the unification of the two Bengals, this ac this Bengals, two the of unification the was , the mother, as against the other members the of mother,, the against as , Bangabala and Jagannath speak speak Jagannath and , Bangabala , which forms the culminating culminating the forms , which ), is synchronized; on ), synchronized; is Komal - - ,

REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 95 REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 96 crisis marked by unemployment is marked economiccrisis and main deterioration the becomes extreme of an face the in to survive TaraMeghe Dhaka struggle the where once again me.’ ‘everyone another is that around Nagarik protagonist the on Ramu, dawns realization the till search ultimate the becomes ployment for a job consequently for homelessness and where a home search and the homelessness. and of fore to state unemployment, the the brings retrenchment Ghatak of India, reality independencepost the delineationthe of Through offer citizens?” state its Indian the does prospects “What asks: and state Indian the confronts where he directly Nagarik from cinema, his across question this explores Ghatak offer to citizens? India did its of citizenship But kind what transaction. merely India on of alegal free citizens the became refugees displaced The itself. sanctified apparatus people,to state the the andthethe nation on other,of thepartition citizenship itby offering justified hand sword: was athe on double-edged one citizenship of offering The process citizen. wereidentity, offered a single Indian an that of refugees identities, displaced the acompensation multiple for of loss the their As of exchange. type a contractual involved that transaction the model offered of legal spirit of of refugees uprising the order in state, to the repress But Indian the homeless refugees. toreduced becoming Jukti Takkoin Ar Gappo Yieh Kiun in shadow a becomes again exodus The own. once their as claim can they place of a search in continue trains in to travel of Independence, homeless the refugees Gandhar Komal ashadow in as beginning Literally cinema. of Ghatak’s essence the forms metaphoric, and that notion literal both Itmerely of exodus, the this asemblance. is of is state settlement wherein any of astate disequilibrium in to move perpetually doomed as on margins, peripheral the exists which shadow ofpresents exodus, the the the for nations.formationthe Ghatak new of sacrifices were to compelled make homeless; the of people who displaced, suddenly the of refugees, the space the came the continual and unending search of the refugees for a missing promised homeland. promised for amissing of refugees the search unending and continual the on above mentioned the focus films All trauma. national resultant the and failure Rekha Subarna 1952-53) in Nagarik seen clearly in of pendence.trauma The Partition ongoing government Inde adopted Indian of anti-people after the the a result model that of alone Partition but not also, because was into lower the class class of middle the unemployment, abject impoverishment. and However, segregation reduction the peopleinevitably ofled people. migration to This homelessness, but mass the in where he begins to formulate this question to down Jukti Takko to formulate this where he begins Ar Gappo Beginning his oeuvre with Nagarik with oeuvre his Beginning two borders people depictswere the the how across Ghatak film, after film In The space between the new independent states —India and Pakistan— be and Pakistan— independent—India the new states between The space subcontinent of Indian the Independence not partition resulted the only in Subarna Rekha moves Subarna exodus across , the Bari Theke Paliye and Paliye Theke Bari only to culminate into an ultimate state of pavement state homelessness, the ultimate into an only to culminate . These films in particular are marked by the the nation’simprintsthe marked by of are particular in films . These . Jukti Takko Ar Gappo II , Ghatak presents the story of unem story presents the , Ghatak in a different form finds its replica in itsfinds replica form adifferent in where even after twenty years years twenty where after even besides Tara Meghe Dhake and ( The Citizen Citizen The - - - - employment, but realize that finding a job in the present era is like gambling. And gambling. thelike a is in presentjob era finding employment, that but realize find to dream the dream, They only under amillstone. crushed of being pain the experience characters order.the film the social Throughout egalitarian about an dreams by collective new replaced be must peoplethe dreams nowhere these so and lead will and illusions are dreams individual All survive. one up can that teaming that only too is notbabu it by alone”. that through Jatin and new states film The something build one can that destruction, “It only by is accepting Ramu. he tells one one’s encounter gather storm it”, can collectively impending and the resources of of reality the acceptance world the the to see open “Only up through before him. he able be for operates, will only then asystem which through hegemonic process of the apart are hopes which false from his himself to disassociate blinkers, his Ramu to remove one solution. a find warns can father The reality the by accepting that only convinced are old of his father.both that They as well of babu, as Jatin voice the subvertedthrough But Ramu’s constantly this. is story like be always will life that to believe refuses and economically again rise will they that convinced is for mother ajob ahome. and his hopefully He with along struggles throughout who individual, the of Ramu, story the is level central the At levels. at two erates poverty.in op narrative consequenttheand increase The retrenchment, inflation masses. toiling not ordinary and from the isolated along with life a oneaboutdream, a have adifferent building people the will that end, Towards system. by the the manipulated being constantly are that circumstances pavement the pavementeither towards as moving under economic or dwellers as chronotope the peoplestreet. It depicts the film formulates of The class. of middle the deterioration incessant an depicts Thestory crisis. same the through going is around everyone that babu, afellow Jatin victim, through on him dawns realization the until family to support his hopefully who struggles other citizens among of a citizen do? refugee for even one’s forgottento one’s one exist as has self own identity, a does what reality, where one this ceases with most violent living form of And displacement? the amnesia this Is are: not pose films these that The relations. questions closest andtheir of theirpast of amnesiac are who characters creates Ghatak films his all almost In past. their in themselves relocate aposition and longer in to are recollect people the no splintered realities with living as displacement psychic in results eventually that displacement of geographical as well as metaphoricand of class economic and disparities. discrimination class through survives that system reduction the of people the to that pavement a in inevitable is dwellers realization the with films endto people. offerits The nothing can that India of an degradation economic eventual the present and homelessness and unemployment of theme the Theke Bari Paliye condition. desperate a in who end yet and reality Partition post of their because compromise convictions their sue. Subarna Rekha Subarna Nagarik The film brings to the the to conditionfore brings unemployment,film of The homelessness, Nagarik convergenceliteral is a cinema both Thepavement in Ghatak’s thus dweller states that all paths will inevitably end in slums and it only and then is end slums in inevitably will paths all that states , situated in the era of Telengana era the the in , situated (1946-51), uprising story the is continuing this state presents characters who are compelled to compelled who are presents characters state this continuing and Jukti Takko and reiterate Ar both Gappo -

REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 97 REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 98 process of marginalisation that are but suggested in Nagarik in but are suggested that of marginalisation process Nagarik compelled to leave his home tocompelled leave his due job to He any Partition. to now. unable get too is in too live on by pavement characters doing the the odd jobs. Unlike a living scratch and or to They Partition. due either 1943 to Bengal the displaced in who too are famine Theke of Bari Paliye characters nameless corns. is thedoubledHe several in puffed of unemployment. Hereality now the for is ajob; a vendor accepted he has selling no is longer on lookout the Haridas ajob. Ramu to secure Unlike failed has Haridas for ten years, spite In hometo leave his of due of struggling Partition to Bengal. the school teacher, compelled is erstwhile an Haridas, conditions class. of middle the (Ghatak’sPersonal Notes on life. conceptionnew the of Nagarik a remorselessly to build trying are people spiteworking who in sufferings, of their but end slum, not by inhabited the simple up in by dreamers educated too will Ramu’s. like They begin Sooner will declassment or later their dreams. unattainable probably step into will Ramu’s dream and dreamers, shoes people, other hopeful other continues and march But endless the worse, Ramu’s begun. has declassment where or for for better struggle of class arena the one as of post-Partition Calcutta tale is The the towards?’ journey is story.” the is question,‘What story main The another Ramu’sis from “that itself stating, by story dislodges end its towards film The aspirations. and dreams individual their including behind things to leave many have inevitably thepeople will that states film the process, the in Further separation? thenthis why theslums, is that place, thesame going to endin finally is everyone since And no is escape. there that here. realization the It muchso poverty with ends is there strangely yet resources, world the in mineral richest in the is India although Ramu’sin as a that lodger wholives scientist a character, house, states it significant another Sagar, when through of system the fore to contradictions the the brings film it. The by others accepting depriving be he a job, will that gets he knows Ramu Independence. Even adopted people India anti if after economicthe that policies take some desperate plunge. some desperate take they until and unless them crushing is that grind from the no escaping nois break, there that know characters The from them. arebellion demand and illusions their conceptionthe of Nagarik) one and hammer-strokes” (Ghatak’sPersonal Notes on athousand people through lessons to teaches that existence, of hardrealities the It signifies film. the in persists that thesound hammer-strokes of through objectified choked is and crushed being of feeling This anywhere. built being is wonder and land a new if but unaware are sandbank a like doarecrumbling not it. they get They them —but unlike security and rest and deserve tired therich, get ment”. they too,like that feel characters The employed sword who of the are retrench those workAnd hangs but heads on their chances”. Ihave only missed my life all babu Jatin says, As opportunities. to miss lottery.are the doomed in lucky be They poor cannot the that it expected is still Nagarik in a subtle, less overt form. The asubtle, less in notionthe pavement theof and dweller Both Both of Nagarik, Theke Bari Paliye discourse the Continuing Nagarik , they look neither, they for ahome nor aschool was teacher for ajob. Jagannath, Bari Theke Theke Bari Paliye makes it explicit that the problem it the explicit that of unemployment makes to related is . And probably these alone, the film suggests will break break will suggests film probably alone, the . And these Meghe Dhaka Tara Meghe Dhaka of and continue discourse the are developed further further developed are depicts the worsening worsening depicts the ). -

marginalisation as the times and the context are changing. are context the and times the as marginalisation gradual their and Ustad form of the Panchanan in fore of artisans plight the the the to alsobrings film The artist. arevolutionary as to him options available are few have worsened very and times the but because to do anything notis willing he degenerated not and because wasted presented is as intelligentsia, middle-class a therepresentativeirresponsible of but Neelkantha, to rest. no around place finds of neither ashelter a jobwanders finding search he and in and Calcutta in He arrives there. tense situation due the very to is riots as village to compelled leavebeen his aschool teacher, has Jagannath, citizens. for its so-called of prospects any lack the emphasizes government followed, Ghatak Indian the that model of discrimination he not a job; is to he get a ‘son states, as Nachiketa of soil’. the By the presenting it impossible is for Bengal exploitation.and Moreover, from East aBengali being problem massive the of depicting unemployment, factories, closed retrenchment rows of presents on sides of roads, both the Ghatak streets, the through pass bala andBangla Nachieteka As lock-outs.Neelkantha, artificial creating are and states to other factories their shifting are job for big not is the industrialists available, that labourer evenas a but to working himself reconciles He finally engineers. need not does country the that of ahome ajob search and but in around soon realizes moves of engineers, other young hundreds engineer, an like Nachiketa, Bengal’. of ashelter, her and lost father search in worthless around ‘vast in roaming city the of across 1971. outdriven of due her massacres to land the she walks deserted Lost, is spirit represents the of who Bengal, metaphorically Banglabala, political. highly are reasons these All reasons. different homes away from their fordriven several norms. social to and compromise its values class, of middle the agony the film problematizes The perspective. apatriarchal by including painfully post-independence in more developed even is class India of middle plight the the Tarain Meghe Dhaka shifts theperspective for Though them. agony of extreme experience an was earners’, unmarried of ‘bread to so remain and the role one’scompelled womenthat discharge to economic The pressures existence. raison the d’être as marriage romanticizes and exalts which regime a patriarchal agony of the women It oeuvre. brought expresses up projected under Ghatak’s in as work. by families support their and unmarried women now tothat are compelled remain a in terriblesuch condition class this film presents The friend. her unnamed through Nita universalizes and Nita but through contextualises directly class middle to the who once belonged economic presents the of refugees displacement the variations several today. job has with alabour film that The prospects the Master, regarding father,their Haran along with Further, Montu, reassures Nita, significant. thing Nita’s some as brother Tara younger Meghe Dhaka work in afactory his in accepts of memory, self. hence the and loss eventual their in metaphorically reflected further is pavement this and dweller when reduction he presents into their the of peoplerecession the margins to the Theke Bari Paliye in perspective of aclass terms in Meghe Dhaka TaraMeghe Dhaka themethe economicto of variation a deterioration offers Jukti Takko Ar Gappo If the characters in Nagarik in characters the If revolves around the odyssey of four homeless characters of homeless four characters odyssey the revolves around struggle to get a lower clerical job, alower to get Montu, clerical struggle . Ghatak presents the gradual gradual presents the . Ghatak , yet the discourse of discourse the , yet of of - -

REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 99 REVISTA CANARIA DE ESTUDIOS INGLESES, 76; 2018, PP. 91-101 100 Tara the partition of the Indian subcontinent. of Indian the partition the today, cinema of Ghatak’s prove events after 70 salience these the years —all India groups in other minority and Kashmiris the peoples of Northeast, the the Dalits, (2015); 2014 since “cow current the against vigilantism” atrocities continuing the and Lynchings Dadri the Sikhs, (2002),rat the 1984 the against committed atrocities debate (1992)Janmabhumi Guja in riots Godhra the resurgence, its current and theMasjid-Ram Babri with associated riots The India. in communities ethnic other and Muslims, Hindus, tensions and between riots communal perennial and discussed. already as totality its in of state politics the imbibesthe that apsyche butpsychosis subtly creating its most hegemonic in works afear form by generating apparently apparatus state the which through the Byto refers process psyche. doing so, film the communal of context creation of the the the in of communalism issue the he analyses that in Yieh time of theme Kiun the Partition, it preoccupiedbeen for with first is the it 1947, in throughouthad is though Ghatak Though still. contemporary very are situated raises, 1970in film the that not issues does the to out be seem as of place, the production Thus riots. of Yieh Kiun communal the and economic crisis of the terms in independence, both fore to situation the after of the brings India further and Partition to related the ongoing trauma Ghatak’s production suggests dateafter The Partition. of its was shot in years three film The psyche. 1970, twenty development the in its politics of communal the peoplethe imbibe internalize and by making itself disseminated state way the the above. It stated nation analyses as Yieh then grotesque repercussions, Kiun Independence the its of nation and and of Partition the the aftermath the with deal , and and Gandhar Komal It is with YiehIt with Kiun is This is on going trauma in the form of endless class displacement peopleof class the form in of endless trauma is going on This Subarna Rekha Subarna that the discourse of Theke Bari Paliye discourse the that Revised paper accepted for publication: 20 February 2018 February 20 publication: for accepted paper Revised deals with the genesis of the division of of division the genesis the the with deals finds a different echo. If all these films films these all echo.different If a finds Reviews sent to author: 30 November 2017 November 30 author: to sent Reviews , Meghe Dhaka Meghe Dhaka even even -

Rajadhyaksha Pal Yieh Kiun Yieh Rekha Subarna Nagarik Tara Dhake Meghe Komal Gandhar Jukti Takko Ar Gappo Garam Hawa. ThekeBari Paliye Filmography b) Ghatak Bibliography a) , Atanu. . Dir. Ritwik Ghatak. Film Guild, 1952-53. Guild, Film Ghatak. . Dir. Ritwik , Ritwik. Cinema and I , Ritwik. . Dir. Ritwik Ghatak. Ritwik Ghatak, 1970. Ghatak, Ritwik Ghatak. . Dir. Ritwik Ritwik Kumar Ghatak. Dir. M.S. Satyu. Film Finance Corporation, 1973. Corporation, Finance Film Satyu. Dir. M.S. . Dir. Ritwik Ghatak. Radheshyam, 1965. Radheshyam, Ghatak. . Dir. Ritwik . Dir. Ritwik Ghatak. Ritwik Ghatak, 1961. Ghatak, Ritwik Ghatak. . Dir. Ritwik , Ashish and Amrit Gangar Amrit and , Ashish . Dir. Ritwik Ghatak. Chitrakalpa, 1959. Chitrakalpa, Ghatak. . Dir. Ritwik . Dir. Ritwik Ghatak. Chitrakalpa, 1960. Chitrakalpa, Ghatak. . Dir. Ritwik . Dir. Ritwik Ghatak. Rita Productions, 1974. Productions, Rita Ghatak. . Dir. Ritwik . Ritwik Memorial Trust, 1987. Trust, Memorial . Ritwik Barishilpo, 1988. Barishilpo, REFERENCES Arguments and. Arguments Stories . Screen Unit, 1987. Unit, . Screen

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