| 4 | | Bengali poet and director born in Anara, Purulia (Bengal). Former lecturer in economics at Calcutta University (1968-76) and Bengali poet since 1961, published in journals like Kabita, Ekshan and Desh; wrote many anthologies (Govir Arieley, 1963; Coffin Kimba Suitcase, 1972; Him Jug, 1977; Chhata Kahini, 1981; Roboter Gaan, 1985). Gave up academic post to extend poetic work into cinema. Early film-making (Dooratwa) attempted a didactic variation on S. Ray’s type of urban lyrical realism. With the thriller Grihajuddha and melodrama Andhi Gali, both adapting novelist Dibyendu Palit, he tried new forms of addressing the contemporary situation in Bengal after the Naxalite movements, usually from the view of a guilt-ridden middle class. From this perspective, revisits established literary traditions, including the writings of Kamal Kumar Majumdar (Neem Annapurna), Narendranath Mitra (Phera) et al. Published a book of film essays, Swapna Samay Cinema (1991). |
| | 4 | Bengali poet and director born in Anara, Purulia (Bengal). Former lecturer in economics at Calcutta University (1968-76) and Bengali poet since 1961, published in journals like Kabita, Ekshan and Desh; wrote many anthologies (Govir Arieley, 1963; Coffin Kimba Suitcase, 1972; Him Jug, 1977; Chhata Kahini, 1981; Roboter Gaan, 1985). Gave up academic post to extend poetic work into cinema. Early film-making ([[Dooratwa]]) attempted a didactic variation on S. Ray’s type of urban lyrical realism. With the thriller [[Grihajuddha]] and melodrama [[Andhi Gali]], both adapting novelist Dibyendu Palit, he tried new forms of addressing the contemporary situation in Bengal after the [[Naxalite]] movements, usually from the view of a guilt-ridden middle class. From this perspective, revisits established literary traditions, including the writings of Kamal Kumar Majumdar ([[Neem Annapurna]]), Narendranath Mitra ([[Phera]]) et al. Published a book of film essays, Swapna Samay Cinema (1991). |