This is the second part of the interview with Ratnottama Sengupta, national award winning journalist, writer and filmmaker, an exclusive, where she talks of not only legends like Meena Kumari and Utpal Dutta but also takes us on a journey of cinematic history and discusses the impact of social media on cinema along with more about translated books of Nabendu Ghosh.

A quick recap of the earlier interview  leads us into the world of glittering Bollywood where the former Arts Editor of The Times of India, Ratnottama Sengupta, spent her formative years to emerge as a writer and filmmaker; her childhood amidst legendary stars; her observation as a curator of exhibitions which bring out the hidden voices of less known languages, art forms; her experiences as a biographer, author and translator.

Reader Ramashish Roy writes on our website: “Many thanks to ‘Kitaab’ for publishing this interview which portrays commendable work done by her( Ratnottama Sengupta) and most importantly it also depicts the nuances of the unforgettable golden era of Classical Hindi Cinema. Will eagerly wait for the next episode of this interview.”

Reader Antara Mondal writes: “Simply brilliant! Excellent and expansive interview…Loved the elaborate answers. Looking forward to Part 2 eagerly.”

Please enjoy the concluding part of Ratnottama Sengupta’s interview with Team Kitaab.

Part 2

Team Kitaab: Your father, Nabendu Ghosh, other than being an eminent scriptwriter, was a well-known Bengali writer.  Do you agree the he is a master storyteller with his pen on the pulse of the need for social, economic and political reforms? Can you tell us a little more about how relevant are the stories that you are translating to the current socio-political set up?

Ratnottama: In other words, the social, political and economic relevance of Nabendu Ghosh’s writings more than half a century after they were crafted.

Baba never let me do anything on his behalf, to ‘promote’ him. He’d say, “As long as I am there, you don’t worry about my writing. You concentrate on yours.” And by God’s grace, he lived to write till the ripe age of 90. But since he was in Bombay after 1951, and writing amid people who didn’t know Bengali, he came to be better known as a screen writer. Within a year of going to Bombay, Baba had taken a conscious decision to write screenplays on the stories and novels of other writers — if they had cinematic possibilities. For, celluloid lives only when it beams dreams and dramas of jubilation on a larger-than-life canvas. And since literature for him was ‘pointing fingers’ he continued to write about deprivations, injustices, inequities.

When I took to translating his stories, I was amazed at the wealth of social, historical, and economic documentation contained in them especially about the 1940s, which are the founding years of the nation. “Learn from those you admire but write from life around you,” his father had said to him when he started writing as a schoolboy. And he did just that and became the voice of 1940s. Quit India movement, riots before and post Partition, the Bengal Famine, these realities we more or less know about. But the rationing of clothes during WW2, the tribals’ fight for fishing rights in the wetlands of Chalan Beel now in Bangladesh, the thugees, the price paid by industrialisation in terms of family values, the corruption of morals in political life, the flights of science and the weakening of faith are some of the issues he addresses. Frankly I did not know so much wealth was lying to be tapped. And once I chanced upon it, I could guide a student of Banaras Hindu University who has just claimed a Doctorate for his work on “Contemporary Politics and the novels of Nabendu Ghosh”.