Bari Theke Paliye (Q). film by Ritwik Ghatak. edit . edit. bnwiki বাড়ী থেকে পালিয়ে; enwiki Bari Theke Paliye; frwiki Le Fugitif (film, ). Shibram Chakraborty, whose novella Ritwik adapted for Bari Theke Paliye, had his own fair share of adventures. Born in an aristocratic family. Many believe ‘Bari Theke Paliye’ was a tour-de-force for the director who was at home both in rural and metropolitan Bengal. This classic coming-of-age movie.

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Every public and school library has loads of Bair films, but none seems to have any Ghatak film. I read a review on Ghatak by Megan Carrigy where she quotes Ritwik trivializing film as a much much lesser form of art than theater- he was a theater person after all Yes, it’s hard to find the dvds.

You could buy them from calcuttaweb. Is Megan’s review online?

I am not familiar with it. In one interview, Ritwik said he moved from theater to film primarily because with films, he could reach more people. If he could find a medium that would reach even more people, he would gladly switch again. He was not in love with the film as an art form – communicating with and connecting to people were more important vari him as an artist.

However, I will be surprised if Ritwik actually trivialized film as an art form. Maybe he was quoted out of context. And thank you very much for showcasing an underrated classic of Bengali cinema. On slightly off-topic, Bengal was fortunate enough to have so many illustrious humour writers – of various shades as well – Parashuram’s biting satire, Sukumar Ray’s nonsense, Narayan Ganguli’s Tenida slapstick, and of course, Shibram Chakraborty’s subtle word-play.

Bari Theke Paliye

That genre deserves a post on its own. And yes, ‘Ishwar, Prithibi, Bhalobasha’ – enlivened a rather long train journey from Bombay to Kolkata. Underrated it is and it deserves much more. In addition to the pigeonholing and marginalizing that all of Theoe films are well used to, this film suffers from a genre problem.

It appears to fit in the children’s genre which is not a favorite of serious cinephiles.

At the same time it is too sombre to work as a feel-good coming-of-age film. I palihe to give Ishwar, Prithibi, Bhalobasa another read. It has been a while. Dipanjan, The review I was referring to is here- http: Yours is a very underrated blog and this is a magical post on some of the most underrated of Bengali artistes.

Bari Theke Paliye

BTW, the post on Indian football was great too which I linked on my blog – palige your permission! Thanks for the link. I have read the Bengali article Megan referred to. It is the same one I alluded to in my last comment. I do not think Ritwik “trivialized” film as an art form and thought of it as a “lesser” form than theatre.


He denounced film not because he thought it was an inferior medium, but he was very careful about not letting love for the art form take precedence over content and audience – his two passions. Also you have to consider his attitude in the context of his time – dominant Theie New Wave movement and the wide variety of formal and technical experiments, sometimes at the cost of alienating audience and obscuring themes.

That was what he was guarding against when he undermined film as an art form.

In spite of such a strong caveat, his films are still goldmines of innovative camera angles, editing and use of music and incidental sounds. Please feel free to link, no permissions needed. This blog is underrated because I am a slacker and it is rarely updated: I will try to improve.

Nice, comprehensive write up and good photographs. Ray was known for his thoroughness. You are also very thourough in your posts. I am prepared to wait for 2 months between posts in case all your posts are of this quality On second thoughts, maybe you should not take two months more, you know? Thanks immensely for this.

Do visit my recently started Calcutta photoblog at Cuckoo’s Call. Just finished seeing the movie. For someone fairly unfamiliar with early Bengali terrain, the well-informed review’s been a feast. Intwo years before Ritwik started working on the script of his first completed film Nagarik The Citizenhe wrote a disquieting short story Parashpathar Touchstone that was published in the 11th September edition of Deshthe leading Bengali literary periodical, and was later included in its golden anniversary edition of best short story collection — Desh Subarnajayanti Galpo Sankalan.

Chandrakanta, the eccentric protagonist of the story, had become a disciple of a sadhu and from him, had learned the secret formula of MritaSanjibani — the ancient Ayurvedic medicine that can revive the dead which, in the context of the story, is to be interpreted metaphorically.

Rest of his life was spent in pursuing odd jobs to save enough money so that he could travel across the subcontinent searching for each of the shrubs and herbs prescribed in the formula. The formula also required the applicant of the medicine to sing a specific song, with compassion and in a specific tune, while applying the drug to the dead.

In his conversations with Banarasilal, a famous exponent of classical Hindustani music and a visitor to a colliery in Madhya Pradesh where Chandrakanta was temporarily working as a contractor, Chandrakanta delves into all sorts of sounds — musical and incidental, natural and mechanical, consonant and dissonant — and the images and memories those sounds invoke in his brain.

More to the point of this post, however, is the fact that Chandrakanta is a runaway. Born in a small village in Kumilla district of East Bengal now Bangladeshhe ran away from his home and when asked by Banarasilal if he ever wanted to go back to his village some day, his response was just an unintelligible sound of uncertainty and pathos. Shibram Chakraborty, whose novella Ritwik adapted for Bari Theke Paliyehad his own fair share of adventures.


Born in an aristocratic family in the Chanchal region of Maldah, he ran away from home, took part in nationalist freedom struggle and went to jail.

A lifelong bachelor and an intensely private person, his mess hall habitat at Muktarambabu Street in North Calcutta and the extremely idiosyncratic and curious palige were part of Bengali-lit folklore. Kanchan of Bari theke Paliyethe film, however, is closer to Ritwik — who himself had run away from home a few times in his youth — than Shibram. He was direct and precise about this in an essay entitled My Films: In our boyhood we have seen a Bengal, whole and glorious.

Rabindranath, with his towering genius, paljye at the height of his literary creativity, while Bengali literature was experiencing a fresh blossoming with the works of the Kallol group, and the national movement had spread wide and deep into schools and colleges and the spirit of the youth. Rural Bengal, still reveling in its fairy tales, panchalis, and its thirteen festivals in twelve months, throbbed with the hope of a new spurt of life. This was the world that was shattered by the War, the Famine, and when the Congress and the Muslim League brought disaster to the country and tore it into two to snatch for it a fragmented independence.

Bari Theke Paliye – Wikipedia

Communal riots engulfed fheke country. The waters of the Ganga and the Padma flowed crimson with the blood of warring theeke. All this was part of the experience that happened around us. Our dreams faded away. We crashed on our faces, clinging to a crumbling Bengal, divested of all its glory.

His dream sequence about Mili and their alternately teasing and loving conversations are tender and sweet. As an aside, Satyajit has not been forgiven for dropping the pivotal character of Lila out of Apu trilogy. In his defense, he did try to fit her in, but it did not work out for the lack of suitable child actors and also as a bair of schedule conflicts with the only suitable actor he finally managed to find.

Calcutta, the touchstone, touches Kanchan literally meaning goldshatters a few of his fantasies and makes him wiser. Newer Post Older Post Home.

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