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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”.

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Reviewed by Sucharita Dutta-Asane

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Title: That Bird Called Happiness – Stories
Author: Nabendu Ghosh; ed. Ratnottama Sengupta
Publisher: Speaking Tiger, 2018

Nabendu Ghosh was born in Dhaka, raised in Patna, then a part of the Bengal Presidency, moved to Calcutta in 1945. In 1947, India woke up to its ‘tryst with destiny’, but this destiny had two heads, creating a splintered sense of national identity and geographical boundaries. On the eastern side of the country, Bengal was divided not just by a line but also, unnaturally, by language. With Urdu imposed as the national language on a Bengali speaking population, books from West Bengal could not be sold in East Pakistan. By then Nabendu Ghosh was already a prominent voice in Bengali fiction.

In 1951, when Bimal Roy asked him to script movies that would become classics of Hindi cinema – Bandini, Abhimaan, Devdas, Sujata, among others, he moved to Bombay. Though these films were based on stories by other literary greats,  Nabendu Ghosh had already found his footing and the subjects that would preoccupy him in his own stories and novels: the social and political upheavals of the time, famine, Partition, riots, socio-cultural mores, and most significantly, love.

That Bird Called Happiness is a collection of translated stories of Nabendu Ghosh, edited by his daughter Ratnottama Sengupta, a national award-winning journalist, writer and film director. The nine stories in this collection are narratives of a newly formed nation, still nascent in its certainties and assurances, mindful of the social dogmas that were briefly subsumed by the larger ‘ism’ of nationalism. The writer’s stance is bold, reformist; it searches for language in which to explore the newness of thought, of an emerging nation-hood played out in individual lives, as in “The Path” and in social groupings as in “Full Circle”.

Following its thumping success in the inaugural year, the second edition of the LIC Gateway LitFest, India’s only platform to celebrate writings in Indian languages at the national level, will be held at NCPA, Mumbai on February 20 and 21, with a wider canvas of 70 writers representing 15 languages. 

This year’s event will line up a number of top writers including several Jnanpith laureates, Sahitya Academy awardees and budding writers from across India to discuss and debate the contemporary regional literature landscape.  

Jnanpith awardees such as Marathi writer Bhalchandra Nemade, Hindi poet Kedarnath Singh, Odia writers Pratibha Rayand Sitakant Mahapatra will be sharing the same dais.

“We received an overwhelming response to the first edition of this unique initiative from the literary fraternity. The need to create a powerful platform for regional literature and writers in a largely English language-dominated milieu found wide resonance with the readers and writers alike. We intend to make this a people’s movement with the inclusion of new programme formats and wider participation of regional literature lovers,” said Festival Director Mohan Kakkanadan.

The event, jointly held by Mumbai-based Malayalam publication Kaakka and communication agency Passion4communication (P4C), has been conceived to put the regional writings on the same pedestal along with Indian writings in English that is hogging the limelight mostly across the literary events.

“The effort is to bring together the writers from different Indian languages at the national level to promote co-existence and co-growth which is vital for preserving our national labyrinth of diversity in linguistics,” said festival Executive Director M Sabarinath.

There aren’t many better examples of India’s diverse culture than its linguistic diversity. The country is home to 780 languages with over 120 of them holding the ‘official’ status. But the other side of the story is that India currently heads the list of UNESCO’s world’s languages in danger. The constitution, in its eighth schedule, lists 22 languages as the official regional languages in the country. This series of articles is an attempt to focus on these 22 languages, their pasts and present, and cherish our linguistic diversity. After discussing AssameseBodoKashmiri and Konkani in the previous write-up, today, we shift our focus towards Bengali.

A TV serial written by controversial Bangladeshi author Taslima Nasrin has run into rough weather: NDTV

Minority groups have demanded that the serial, which is scheduled to go on air from tonight on a Bengali channel, be shelved as it contains objectionable content, and have written to Chief Minister Mamata Banerjee. The Kolkata Police has now verbally advised the TV channel not to air the serial.