The New Wave of Bengali Films: Flying Through the Air…
Before the Indo-Aryans imposed the idea of celestial monotheism, mother goddesses were worshiped all over the world, in South America, Arabia, Turkey, India and elsewhere. The mother goddess had a serpent in her hand. The snake is a symbol of wisdom, but the image of twin snakes is still used in medicine logos. According to tantric-baulds, the kulkundalini of the nervous system of the human body also has the form of a serpent. Mother Durga doesn’t have a snake? Tena’s husband, Mahadev Shivato, uses the snake as a throat muffler.
The daughter of Shiva is the folk goddess Manasa of the Bengal region and also the serpent goddess Boten. In the poem Manasamangal, Manasa Devi’s rival was Chand Saudagar, whose Saptadinga was drowned in the Madhukar Sagar by Manasa and caused the death of seven sons. Nayantara Dinga also had seven mullahs, except for Chan. Everyone is dead, drowned, but what is less than death, directionless, pilotless and drifting in the cold sea? Mansamangal and Havamangal this similarity is purely coincidental?
“Ude Gelo Deslai Kathi has become a butterfly” – one of my favorite verses. Reality that burns when rubbed – three-dimensional reality based on our five senses. Beyond that, it is not impossible to have a four-dimensional, multi-dimensional reality. What a person sees with two eyes, will a maksika with punjakshi also see the same thing? Flying in a burning butterfly is impossible in human reality, it is true, but reality, on another higher and different level of experience, may not be impossible.
Coming to the level of what is called “magical reality” or a special level of the human imagination, the drunkenness of, say, the level where Salvador Dali’s clock is bent in half and melts, the sticks of sukkeet-mukkeet that have been inside the desalai for so long are friction – One can become a butterfly (in the words of Tagore) and sing “I fly as far as I can with your infinite soul…” without burn like a fool in the future.
In the order of evolution of literature and art from the 16th century, classicism or classicism came first, then realism or realism, then surrealism or surrealism. Apart from this, there are also trends like naturalism, romanticism, etc. Classicism will say, the burning stick will go out – if you show more than that it won’t be art, if you show it the artist will have to be punished, he was once punished in Europe. Naturalism or realism will say, it is better to watch the stick burn and go out, because that is what happens in nature, it is natural, it is reality. Deshlai Kathi’s flight like a butterfly is surreal.
In the case of classicism, naturalism or realism, it is enough for the artist to have a munsiana or kabuliyat of demonstration, of philosophy. On the other hand, the creation and realization of surreal art requires a high level of imagination and creativity. Similar imagination and creativity can be seen in the film “Hawa” by director Mesbaur Rahman Sumon. For example, Gulati identified himself as Baidani. The Vedera spread west through Iran and Central Asia from India, but are generally land and riverine. Bedera never goes to the high seas. How did Gulati Baidani fall in the middle of the sea?
Gulati tells Chan with a gesture that he came swimming. But is it possible? A girl is sometimes a fish, sometimes a snake. The girl again says that she herself does not know anything, she only obeys the orders of the goddess. ” What is that ! You are human, how can you be a goddess?’ Iba wants to know of Baidani standing in a daze. He’s a human being, otherwise he would have gone to the tavern. No Hindu or Greek goddess or god was ever seen defecating without pleasure, let alone defecating. (in the words of Nazrul) “seeing and hearing and lost” means to us like Chan: “I don’t understand, I don’t understand anything about you!” What’s wrong with believing even if you don’t understand? The beginning of the film also talks about the power of faith. If you believe, even poison turns into honey. “Honey is poisoned everywhere. We can all eat poison believing it to be honey.
If the public understood everything, then it would be reality, not surrealism. “Between understanding and not understanding, will a color ever float in the eyes? Song sung by Manna. Director Mesbaur Rahman Sumon and his two photographers painted the whole film with Munsiana with this light-darkness or “between understanding and non-understanding” of the surrealist art style that began in the twenties of the 20th century. While most Bangladeshi directors of Jhanu or the self-proclaimed Abbas Kirostami are unable to portray reality properly, a young Bengali man who talks less, works more gives international audiences a taste of surrealism – it’s an event unique in the history of Bangladeshi cinema. and industry.
Imagine that you are sitting down to eat. Waiter fry eggplant one by one on your plate, or pour dal on your plate, or give a lot of toppings, but only a teaspoon of rice. It may be that, you are sitting with rice, curry no longer comes, mustard oil suddenly came instead. Rice can be eaten with mustard oil, but if rice is served only with oil, with fat-absorbing assurances, you will suspect that the host’s head screws are a little loose. It can also happen that the serving spoon is bent or the dish is bent, through which the broth flows.
‘Tikten bhojnarambah, madhuren samapayet.’ The meal begins with bitters and ends with sweets. Let’s say every curry tastes good, but the waiter doesn’t follow the conventional order of serving the curries – pies after bharata and meat after pies, bitter gourd after meat. Or all the curries that are served have no taste, because no rules have been respected during cooking. It is not impossible to cook deliciously without following the rules, but when the cooking is not tasty, then failure to follow the rules should be shown as one of the reasons for poor cooking.
No matter how hungry you are in your stomach, no matter how tolerant you are as a guest, you will surely be bored at the invitation of all these hosts one after another. I don’t know about you, myself, I’ve had enough of most of the so-called ‘art films’ of Bangladesh from independence till now. They all have stories, but most directors don’t know how to tell stories. The narration is not the same in novels, plays and films. Cinema has a different language, which most directors in Bangladesh haven’t learned. There may be research into why they didn’t learn, but the fact is they didn’t learn. Maybe the required talent is not there, or lack of practice. Acting in movies, acting in plays and acting in trips are not the same. Most Kushilab performances in Bangladesh are dramatic, traveling and non-cinematic.
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