If the title bewilders, scratch the floor, dig deeper, the that means lies simply beneath. Spirituality isn’t far faraway from life. It emanates from life and aids our understanding of it. Similar to cinema. The symbiosis finds expression in Amartya Bhattacharyya’s movies. It’s feral, it seeks no validation. It would exist, whether or not or not it’s accepted by these for whom it exists. And, but, what’s the aim of life if it isn’t touched by magnificence – in philosophy and artwork? Visible and visceral, every cog of the gestalt Bhattacharyya presents inveigles us to locations we now have not been earlier than, worlds we now have not seen earlier than. Even refamiliarises us with the recognized, the quotidian. Be affected person, the trip is lengthy, however rewarding. The imagery, beautiful.
The digital camera pans over Kolkata, its flower market, the colorful strings of marigolds, and burgeoning people juxtaposed with the sound of buzzing flies – a lovely commentary on the hustle and bustle of a giant metropolis. Bhattacharyya excels within the documentary format, and that displays within the documentary parts of Runanubandha (The He With out Him), too. Along with his third characteristic movie – that has been working for 2 weeks at Nandan theatre (3.15 pm, until September 10), in Kolkata – Bhattacharyya returns to the town he grew up in, and to the town symphony style. That an unbiased movie, by a nonconformist, would get a good play, and discover reception among the many lots is heartening.
The movie reminds of his 2016 Nationwide Award-winning fantasy documentary, Benaras – the Unexplored Attachments. Town is the beloved to whom a forlorn lover/stranger returns, to discover it deeply. His transitions between color and black-and-white resurface in Runanubandha. Color (motion, the now, bodily actuality, the unseen) is the mnemonic that aids the greyscale (reminiscence, familiarity, connections and quest). The gonzo lens appears to be like at and with a girl within the massive metropolis.
Runanubandha is a daughter’s search – an arduous one – for her long-lost poet-father Michael Hemanta Biswas. Shatarupa remembers his voice – a bodily reminiscence of an individual, somebody intimate, she carries inside her. In flip, together with her reminiscence, her father had created an imaginary daughter, his poetic muse, retaining him firm in a wierd metropolis, giving his artwork fruition. Therefore the movie’s title. Sooner or later, she meets a stranger who appears like him. However he’s a filmmaker who casts her in his movie. The enterprise will get meta, because the movie pivots to turn out to be a meditation on an auteur’s relationship/management over his story, his characters, who’re now not free to behave, resolve or really feel the best way they need – bereft of any company. The protagonist and her actions, in contrast to Riley of the 2015 animation Inside Out, aren’t outlined by the feelings naturally enjoying out in her thoughts, however these scripted, by the director of and within the movie – Bhattacharyya in each roles.
Bhattacharyya, Godot-like, wields the lens and the characters to his liking. At key moments, Shatarupa appears to be like into the digital camera and talks to us – the viewers, the voyeurs. The narrator is Bhattacharyya, voicing his personal poetry. We don’t see him, however we hate what we hear. The director turns into overbearing, his actors impotent.
Had the Bengali movie universe not had a Buddhadeb Dasgupta, who handed away this 12 months, the grasp of lyricism as a cinematic idiom, there wouldn’t have been ingenious filmmakers like Aditya Vikram Sengupta and Pradipta Bhattacharya, bringing in a brand new form of Bengali cinema, of prospects and contemporary departures. And widening the horizon for unbiased filmmakers like Bhattacharyya.
Runanubandha has been produced by Swastik Choudhury, who performs a key position within the movie – additionally an outsider to the town just like the protagonist, a puppet within the arms of the god-like auteur. Bhattacharyya places in helpings of literature (Shakespeare), absurd theatre (Samuel Beckett), mythology (Brahma-Shatarupa monitor) and upends a Jungian principle. The lunatic as a loathsome soothsayer is a traditional trope. And whereas the enhancing might have been a bit of extra compact, the size a tad lengthy, to cite Shakespeare, Bhattacharyya’s imaginative and prescient of “the lunatic, the lover and the poet” are “of creativeness all compact”.