New access to important works from the past often prompts a revision of film history—especially when it comes to national cinemas—that takes the form of a polemical backlash: if only we had known decades ago that Mikio Naruse was better than Yasujiro Ozu, Boris Barnet better than Sergei Eisenstein, and Ritwik Ghatak better than Satyajit Ray! In reality, there is no need for such stark oppositions, and especially not the contest between Ghatak and Ray—who admired each other’s work—to filter our appreciation.A River Called Titas 1973 Movie Download.
But a distinction between these two masters can still be usefully drawn. Ray’s work was an “art cinema” distinct from popular Indian fare (such as Bollywood entertainment), defined by a humanism and realism that easily traveled the world in its day. The Bengali Indian Ghatak was further out on the margins: the avant-garde of this art cinema. Although Ghatak explored popular-culture forms, he never achieved, in his lifetime, much more than cult popularity among artists, intellectuals, and students, and he received little recognition outside his home country.Titash Ekti Nadir Naam.
Ghatak’s films—he completed eight fiction features and several shorts and documentaries—are also nervier, more radically modern than Ray’s. He gave his work a palpable texture of constant shock, and part of the reason for this was personal. He was an alcoholic virtually from the time of Ajantrik (1958), his second feature film, and prone to bouts of deep depression and periods of institutionalization. His death at age fifty, in 1976, came at the end of a long string of illnesses. These facts are not incidental to his achievements as a film artist; indeed, there is something in the temperamental disposition of an alcoholic that helps to explain why Ghatak’s surviving oeuvre remains so remarkable to us today.