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The Lost Ethos of Uttam-Suchitra Films: a ‘Nostalgic’ Review of Some Classic Romances from the Golden Era of Bengali Cinema Pramila Panda

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The Lost Ethos of Uttam-Suchitra Films: a ‘Nostalgic’ Review of Some Classic Romances from the Golden Era of Bengali Cinema Pramila Panda The lost ethos of Uttam-Suchitra films: a ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda Vol. 2, No. 3, pp. 194–200 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 194 Vol. 2, No. 3, pp. 194-200 The lost ethos of Uttam-Suchitra films A ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda [email protected] www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 195 The mild tune of the sweet and soft song been able to touch every aspect of modern wrapped in sentimental love, “Ogo tumi je human society. This brings us to discussing the aamaar... Ogo tumi je aamaar” (You are status of romance or love in Bengali cinema mine, only mine…) from the Bengali movie half a century back. Harano Sur (Lost Melody) released in 1957 These divine qualities teach us the hymn of still buzzes pleasantries, not only inside my humanity and the art of living. These heavenly ear, but also at the centre of my mind. qualities are highly essential for the survival of Suchitra Sen and Uttam Kumar were the human society in peace and happiness. Of considered the ‘golden couple’ of Bengali films course, the world of cinema has not totally from 1953 to 1978. They left their special ignored the importance of these human identities by contributing the best of qualities to be reflected and utilized through themselves through their marvellous acting the different roles of different characters in talent. When I reminiscence about some of the different movies. But most modern cinemas in Bengali films featuring the superb acting of almost all the languages of India are not paying Uttam Kumar and Suchitra Sen from the depths much attention towards the above mentioned of my memory, it seems as if both of them are heavenly qualities of human beings. “I” and standing before my eyes in all their romantic “mine” are replacing the idea of “we” and glory. Such is the power they evoke in me, “ours”. even today, since I first encountered them in my teenage years in the 1950s. The Legacy of Uttam Kumar and Suchitra Sen Since time immemorial man has looked for When I think of Bengali cinema, the image that light, wisdom, eternal peace, sustainable strikes me first is of Uttam Kumar standing in contentment, mystery of immortality and the all his natural aristocracy, expressing his heart- ultimate motive of that non-existing abstract felt love towards Suchitra Sen through his concept of God. Now there is a big question beautiful eyes, without moving his semi- mark before contemporary human society – smiling lips. Suchitra Sen, as his beloved on whether we are moving forward or backward, the other hand stands as a paragon of beauty, whether we are really marching ahead, and if an image of sublime love, delighted from the so whether it is in a positive or negative depths of her heart with quivering lips, but her direction? This is a debatable topic, an opinion, lotus like beautiful eyes would never stare which thinking minds will definitely differ on. straight into the eyes of her lover. Of course it is a matter of great joy that cinema as a powerful medium of communication has www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 196 Some unforgettable examples of such In the unique love story Kamal Lata, Suchitra unique attitude of the lover and the beloved in Sen plays the role of a child widow, who certain notable Bengali movies of the mid- resides in an ashram (hermitage) and keeps twentieth century take me back to those bygone herself busy mostly with religious rituals. One days and its ideas about ‘ideal’ love, romance, day she meets Uttam Kumar’s character, a marriage and the sacrifices made by the lover young man hailing from a rich aristocratic and the beloved, when unable to fulfill the final Brahmin family. The two fall in love with each culmination of any love story in “marriage”. other; but when Uttam’s character proposes This almost ethereal aspect to romance is what marriage to marry Suchitra’s character, she I feel thematically unites and uplifts the refuses and says, ‘Will you close your eyes remarkable movies of the most lovable towards caste, culture, tradition and our social onscreen romantic couple of Bengali cinema to norms? I am a widow, I love you very much. date - Uttam Kumar and Suchitra Sen! But I can’t tolerate your humiliation and insult Uttam Kumar and Suchitra Sen jointly in the eyes of the society.’ She then leaves the starred in 32 Bengali movies. The most popular city in the last scene of their separation. The among them are Sagarika (1956), Harano Sur broken-hearted hero stands silently on the (1957), Rajlakshmi O Srikanto (1958), Priya railway platform as the heroine at the door of Bandhavi (1959), Har Mana Har (1972), the compartment of the train, with tearful eyes, Kamal Lata (1969), Grihadaha (1967) and calm, quiet and speechless bids goodbye, as the Saptapadi (1961). train slowly disappears from the frame. This Most of the plots were chosen by the film great sacrifice of self-interest and personal producers from real life, heart touching stories desire to adhere to social norms has no written by popular Bengali novelists like Sarat comparison. In this Bengali movie, victory of Chandra Chatterjee, Nihar Ranjan Gupta, the ideologies of the Indian cultural heritage Bibhuti Bhushan Bandyopadhyay, amongst over personal desire and worldly pleasures has others. Uttam and Suchitra could vividly been preserved and emphasised. The characters personify the characters from the novels of of Suchitra and Uttam in their personal Sarat Chandra Chatterjee, especially when the sacrifices, uphold tradition, rather than secede psychological beauty of the then ‘ideal’ into a lonely life of their own, directed by the character of the Indian woman was often heart but not sanctioned by the society. celebrated over any other aspect of reveal of In another Bengali movie, Rajlakshmi O the feminine grace, charm and identity. Srikanto, Rajlakshmi is a childhood friend of Srikanto and they love each other. Due to www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 197 unavoidable circumstances, they are separated Christian community she is modern, smart, and unfortunately Rajlakshmi becomes a fearless, outspoken, courageous and prostitute. But when they meet again after a quarrelsome, in complete contrast to her long separation, their sincere ‘love’ raises its characters in her other films with Uttam head from the core of their hearts. Rajlakshmi Kumar. In Saptapadi, Suchitra once again takes expresses her desire to marry Srikanto, and he her character to heights of immortality through finds himself at the crossroads of a great her empathetic insights into her restive psyche. mental conflict. Neither can he accept the As lovers, she and Uttam are always marriage proposal gladly, nor can he refuse it quarreling, shouting and fighting with each directly. The end of this ordinary story is other during the first half of the film, from the heightened by the impact of Suchitra Sen’s football playground to a stage act, where both interpretation of Rajlakshmi pain as her acted as hero and heroine in Shakespeare’s beautiful large eyes express the intolerable pain Othello. Soon they fall in love with each other, of her broken heart at the defeat of a feeble but cannot not marry because Uttam Kumar’s hope of Srikanto’s doubtful return. Suchitra father, who is the priest of a temple is averse to Sen’s extraordinary expression of an ordinary the idea of inter-religious marriages. He and common emotion was simply superb, approaches Suchitra’s character and begs her to heart-touching and unforgettable. Even today, I return his only son to him; otherwise he would remember that beautiful emotional expression consider himself as ‘a child-less father!’. of Suchitra’s superb acting of intolerable Suchitra promises to pay due regard to the frustration. Her praiseworthy action in the helpless request of Uttam’s father. She tragic ending of the film for me, was more suddenly puts an unusual request before Uttam, impressive and memorable than many of ’Will you convert your religion for an ordinary Uttam-Suchitra’s ‘happily ever after’ ending woman like me?’, and leaves him without films. divulging the real reason of refusal of the In Saptapadi, another milestone of the marriage proposal made by Uttam’s character. golden couple, Suchitra plays the role of an Here too, Suchitra’s great sacrifice, adhering to Anglo-Indian Christian girl. She is studying in Indian traditions is unforgettable. Here the a medical college with Uttam Kumar. Here writer of the story does not allow its romantic Suchitra, at least appearance wise, is not a couple to cross the limits of modesty, morality, calm, quiet, gentle, modest or well-cultured honesty and faith as established by their lady, but is rather the exact opposite. As a society. In almost all the Bengali films they medical student from an Anglo-Indian acted in, Uttam and Suchitra earned stupendous www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 198 popularity, also for upholding these cultural All these norms, principles and practices values. were in sync with Indian spiritual, religious and social culture, which were duly regarded, Ideologies Presented in the Golden Era maintained and reflected in the cinemas (in all The Bengali cinemas of more than half a Indian languages) during the middle of the century back in which Suchitra and Uttam co- twentieth century. Here we should not forget starred, did not show any violence or the high level thinking of the then writers or negativity.
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