Jukti Takko Aar Gappo
Director Ritwik Ghatak
Music director Bahadur Khan
|Release date September 30, 1977 (1977-09-30) (Kolkata)|
Writer Ritwik Ghatak, Rabindranath Tagore (lyrics)
Awards National Film Award for Best Story
Cast Tripti Mitra (Durga), Shaonli Mitra (Bangabala), Sugata Burman (Nachiketa), Bijon Bhattacharya (Jagannath), Ranen Ray Choudhury, Partha Pratim Chowdhury
Similar movies Takva: A Man's Fear of God, Madonnen, It's Winter, Django Unchained, Batman Begins, Avatar
Jukti takko aar gappo full bengali movie
Jukti Takko Aar Gappo (Jukti tôkko aːr gôppo, English: Reason, Debate and a Story) is a 1974 Bengali film directed by Ritwik Ghatak. Jukti Takko Aar Gappo was Ritwik Ghatak's last film. The film won National Film Award's Rajat Kamal Award for Best Story in 1974.
- Jukti takko aar gappo full bengali movie
- Ritwik ghatak 1974 jukti takko aar gappo introduction
- Technical team
- Screening of Jukti Takko Aar Gappo aka Reason Debate and a Story in different festivals
The film is considered technically superior to other films of that era due to its camera work. As Ghatak's last film, it is placed in the league of Jean Cocteau's Testament of Orpheus and Nicholas Ray and Wim Wenders's noted documentary film, Lightning Over Water.
Ritwik ghatak 1974 jukti takko aar gappo introduction
In this film Ghatak plays Nilkantha Bagchi, an alcoholic, disillusioned intellectual, in the character's own words "a humbug". After losing his wife and being forced from his home, he wanders through the countryside and meets unusual people along the way, including Bongobala, who was driven away from Bangladesh and does not have any shelter in Kolkata; he gives her shelter. He also meets Jagannath Bhattacharjee, a village school teacher of Sanskrit. Jagannath's school was closed after political killings and he came to Kolkata in search of a job. Nilkantha meets Naxalites whom he describes as the "frame of Bengal": misguided, successful and unsuccessful at the same time.
The film deals with various ideas and themes. Set against the backdrop of the first Naxalite wave of rebellion in India, the film is considered to be Ghatak's autobiographical film, an anti-climax. Ghatak himself explained, "In it [Jukti Takko Aar Gappo] the political backdrop of West Bengal from 1971 to 1972 as I saw it has been portrayed. There is no ideology. I saw it from a point of view of not a politician. I am not supposed to please a political ideology". Ghatak was aware of a complete breakdown of moral values around him, especially among the younger generation. He tried to portray these issues in this film (and also in his unfinished film Sei Vishnupriya). Ghatak, both in real life and in this film, tried to find some meaning for the political and cultural turmoil overtaking his country.
In an interview Ghatak mentioned that "The Great Mother Image" in its duality exists in every aspects of our being, and he incorporated this image into films like Meghe Dhaka Tara and Jukti Takko Aar Gappo.
The characters in this film have been portrayed allegorically.
- Keno cheye achho go Ma (singer Sushil Mallick)
- Amar onge onge ke bajaye banshi (Rabindra Sangeet)
- Namaz aamar hoilo na adaay
- Chhau dance
- Janti gachhe janti phal je
Screening of Jukti Takko Aar Gappo aka Reason, Debate and a Story in different festivals
Shampa Banerjee (1985). Profiles, five film-makers from India: V. Shantaram, Raj Kapoor, Mrinal Sen, Guru Dutt, Ritwik Ghatak. Directorate of Film Festivals, National Film Development Corp. ISBN 978-81-201-0007-7.
ReferencesJukti Takko Aar Gappo Wikipedia
Jukti Takko Aar Gappo IMDb Jukti Takko Aar Gappo themoviedb.org