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Nabendu Ghosh

On the 103rd Birth Anniversary of her father, well-loved writer and Bollywood persona, Nabendu Ghosh, senior journalist Ratnottama Sengupta gives a recap of last year’s celebrations where Sahitya Akademi award winner Shirshendu Mukherjee, an important Bengali writer, talked on her father and his contribution to literature. 

By Ratnottama Sengupta

IMG_0437It was the 102nd birth anniversary of Nabendu Ghosh. The bookstore celebrated the day with actor Ramanjit Kaur’s dramatised reading of ‘Fatima’s Story’ from That Bird Called Happiness, an anthology of stories by Nabendu Ghosh translated to English. Feminist writer Sreemoyee Piu Kundu focused attention on the women protagonists who outnumber and  outweigh the men at the centre of the stories in the collection by the Bengali writer.

The most significant part of the evening unfolded when renowned Bengali writer Shirshendu Mukherjee started speaking of Nabendu Ghosh’s writing. Significant, not only for its impact on him when he was a young reader, but also because like his senior, Mukherjee too has lent weight to the Indian screen with  his stories and scripts. So, when the author of watershed novels like Rashmonir Shonadana (Rashmoni’s jwellery, later screened as a highly popular movie, Goynar Baksho, meaning ‘The Jewel Casket’, by Aparna Sen), Manab Jamin ( Man and Earth) and Ghoon Poka (Woodworm) started to speak, Ratnottama Sengupta simply played the tape recorder.

Shirshendu Mukhopadhyay’s speech on Nabendu Ghosh  at Starmark/ 27 March 2019, Starmark, Kolkata, 27th March 2019. (Translated from Bengali by Ratnottama Sengupta)

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Shirshendu Mukherjee with two young fans

The Partition of 1947, that carved Pakistan out of India, affected many people, both directly and indirectly. Close to 2 million lives were lost in an unprecedented genocide; 14 million people were uprooted. The resultant refugee crisis affected generations that followed. Sectarian violence became endemic. Carnage and sexual violence was intense; mass abductions and forced conversions were on a scale not seen for a long time. “Some 75,000 women were raped, many of them were disfigured or dismembered,” William Dalrymple wrote in The New Yorker of June 22, 2015.

Both Nabendu Ghosh and I were affected indirectly. We — his family and ours — were not among those who had to cross over with bedding on their heads and mats under their arms. We were among the fortunate ones who were safely housed in the ‘new’ homeland. We faced no trauma while leaving our roots behind. But the loss of our birthplace created a deep wound that has refused to go away with the passage of time. It is a dull ache that has now become a part of my ribcage. I am not certain about Nabendu Da since he was only four years old when his father, a successful advocate in Patna High Court, had relocated from his family home in Dhaka. But for me the loss of my homeland — the soil my ancestors had lived in and where I had grown up on, which I knew as my own country, which was part and parcel of my identity, of my very being — had overnight become a ‘foreign’ land — is a sorrow that still weighs on my soul even at this ripe age of 77 years.

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Ratnottama with her Lifetime Achievement Award at the Indywood Festival, December 2017

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”.

By Haimanti Dutta Ray

 

People gathered at Oxford Bookstore, Kolkata, on the evening of the 3rd of May, disregarding the Meteorological Office’s predictions of the impending cyclone, Fani. The occasion was the book launch of the acclaimed film director, music director and cinematographer, Gautam Ghose, and the subsequent panel discussion lined with luminaries from the literary as well as cinematic circles. The book, Beyond The Himalayas: Journeying Through The Silk Route, has been co-authored by producer and writer Michael Haggiag.

The panellists for the evening included renowned actress and film-maker Aparna Sen; novelist Kunal Basu whose The Japanese Wife was made into a film; former diplomat and essayist Jawhar Sircar; critic and editor Samik Bandopadhay, who is also known for his translations of works by noted playwright Badal Sircar and celebrated author Mahasweta Devi; and film scholar Jagannath Guha. Guha had accompanied Ghose on his expedition along the famous Silk Route. Gautam Ghose had made his documentary in 1996 based on the journey he had undertaken. The film was also named Beyond The Himalayas.

Gautam Ghose, the recipient of many national and international awards, including a knighthood from Star of Italian Solidarity, thanked all the persons who had worked tirelessly with him to bring out the book. He especially mentioned his co-author, Michael Haggiag. Haggiag was not present for the occasion. Ghose said that the idea for the book came to him when he re-discovered the negatives of the Silk Route lying at the bottom of his cupboard. The 14,000 km journey they made in1994 took them through Central Asia, China and Tibet. They journeyed through a number of places like Bukhara, Tashkent and Samarkand.