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  1. Aug 24, 2017 · Ajantrik is strewn with scenes of Bimal driving Jagaddal through the rugged landscape, with some sharp cuts from extremely long takes of the moving car to documentary-style shots of cattle and herds.

  2. en.wikipedia.org › wiki › AjantrikAjantrik - Wikipedia

    Bimal is a taxi-driver in a small provincial town. He lives alone. His taxi (an old 1920 Chevrolet jalopy which he named Jagaddal) is his only companion and, although very battered, it is the apple of Bimal's eye.

  3. A question asked of taxi driver Bimal (Kali Banerjee), the central character of Ajantrik, regarding his dedication to his very old and battered 1920 taxi, called Jagaddal. This taxi driver’s relationship to his car somehow draws a parallel to Ghatak’s own attempts to explain what it is about the cinema that draws his commitment.

  4. Bimal is a taxi-driver in a small provincial town. He lives alone, his taxi (an old 1920 Chevrolet jalopy which he named Jagaddal) is his only companion and, although very battered, it is the apple of Bimal's eye.

    • (591)
    • Aurora Films, L.B.Films International
    • Ritwik Kumar Ghatak
  5. The plot revolves around Bimal (K. Bannerjee) and his battered taxi, an old Chevrolet he calls Jagaddal. Because he takes his car to be a living being, many believe Bimal to be mad. In a long sequence, Bimal plies his trade, his world intersecting at various points with that of the Oraon tribals.

  6. Ajantrik takes place in the area around the Subarnarheka River, the dividing line between West Bengal and East Pakistan, or contemporary Bangladesh; Bimal and Jagaddal repeatedly return to this landscape, as Ghatak himself would to shoot his work. he Hindu epics, which run as intertexts through Ghatak’s later, better-known ilms, Meghe Dhaka ...

  7. Dec 2, 2003 · This is a question asked of taxi driver Bimal (Kali Banerjee, an IPTA veteran), the central character of Ajantrik, regarding his dedication to his very old and battered 1920 Chevrolet jalopy, called Jagaddal. It seems to me that it is the same question Ghatak wants to ask of the presumption of a filmmaker’s attachment to the apparatuses of ...