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Born in what is East Bengal (now Bangladesh) in 1925, as a young man Ghatak and his middle-class family were forced to flee famine and the partition of Bengal in the 1940s, settling in Calcutta. This seismic life event forever marked Ghatak as an artist. As one of the great refugee filmmakers, his work is characterized by stories of division ...
ঋত্বিক কুমার ঘটক, যিনি ঋত্বিক ঘটক হিসেবেই সচরাচর অভিহিত, (৪ ...
‘I think Ghatak became a thing more than a person. A myth. A sort of ghost that, through its continuous presence, egged people on to keep thinking, thinking creatively.’ In his short stint at the FTII, Ritwik Ghatak influenced a whole generation of student film-makers … Shamya Dasgupta revisits the maverick director’s avatar as a teacher ‘When I go to the film institute now, there are so many ghosts floating around. There’s Antonioni, there’...
Ritwik Ghatak. “Why films? Because I am totally crazy. I can’t live without making films. I look at the struggle and misery of contemporary life. And try to say something to the best of my ability.”.
The Bengali filmmaker, Ritwik Ghatak, was born in Dhaka in 1925, and lived in East Bengal (present-day Bangladesh) throughout his adolescence.[1] [open notes in new window] The Bengal Famine of 1943-44, World War II and finally, the Partition of 1947 compelled Ghatak to move to Calcutta[2] where he became actively involved in the Indian People’s Theater Association (IPTA) and the Communist Party of India (CPI).[3] Formed in 1943, IPTA was the first organized national theater movement in ...
Ritwik’s father, Suresh Chandra Ghatak was a poet and playwright. He was the district magistrate as well. His mother was Indubala Devi. After partition of Bengal in 1947, his family moved to Kolkata. His marriage with Surama Devi resulted in a divorce and it mentally disturbed Ritwik as well. Ritwik was temporarily sent to a mental hospital.
High Passion: The Films of Ritwik Ghatak. Since his death at age fifty in 1976, Ritwik Ghatak has come to be regarded as one of the greatest figures in postwar Indian cinema for his brilliant and abrasive films, among the most revolutionary achievements in contemporary Indian art. The product of an early involvement in politics and people’s ...
