| 1 | '''Amodini''''''''' |
| 2 | |
| 3 | |
| 4 | 1994 101’ col Bengali |
| 5 | d/s/lyr/m Chidananda Das Gupta pc NFDC |
| 6 | c Madhu Ambat |
| 7 | lp Piyush Ganguly, Rachana Bannerjee, Ashoke |
| 8 | Mukherjee, Anusree Das, Tathagata Sanyal, |
| 9 | Aparna Sen, Kankana Sen, Ashoke Basu, |
| 10 | Dhiman Chakraborty, Sipra Basu, Devika Mitra |
| 11 | Noted critic Das Gupta’s comedy is set in the |
| 12 | 18th C. when Calcutta was being built and |
| 13 | inviolable norms of Brahmin social hierarchy |
| 14 | often led to absurd situations, e.g. when uppercaste |
| 15 | brides, who could not marry below their |
| 16 | class, ended up marrying infants or muchmarried |
| 17 | males trading on their eligibility. The |
| 18 | irascible Amodini, daughter of a Kulin Brahmin |
| 19 | landlord, is forced to marry a servant in her |
| 20 | house when her scheduled groom abandons |
| 21 | her in favour of a more lucrative alliance. She |
| 22 | promptly kicks the servant boy Pundu out of |
| 23 | her house as soon as the rites are over. The |
| 24 | servant moves to Calcutta (then Sultanuti) and |
| 25 | returns years later having made his fortune in |
| 26 | the British colonial economy, considerably |
| 27 | wealthier than his former employers. Amodini, |
| 28 | determined to get him back, unburdens her |
| 29 | troubles to Pundu’s latest wife and the |
| 30 | threesome live happily ever after. Unlike the |
| 31 | later films of Das Gupta’s mentor Satyajit Ray, |
| 32 | the plot itself becomes secondary to innovative |
| 33 | camerawork, often using minimal light and |
| 34 | high-speed stock, and to stylised references to |
| 35 | popular Bengali artforms. |
| 36 | |
| 37 | [[Film]] |