A River Called Titas

Typically for Indian movies this has it all, evil capitalists that destroy the property of the poor peasants, a man struck insane by the abduction of his newly-wed wife from arranged marriage, compassionate families that end up turning against the one they help and a lot of smoking from water pipes and chewing of betel nut.

The film starts by announcing that not many people know about and much less care about the people living in this region which is one of the world's poorest places. And by the end of it most things look very unfortunate for them still. It is realistically made, shot on location so that doesn't feel contrived. That being said, some of the acting looks funny and artificial by our standards. As we move focal points also it can be a little difficult to follow the numerous plots.

Antropologically interesting too.

When anybody (even I used to say the same) tells you more money leads to lesser art, this epic saga can be a staple example to prove them wrong. This is based on a semi autobiographical novella by Adwaita Mallabarman, depicting the life and times of a fishing society by the bank of a River, called Titas, over a period of time. I can say that this has more distinguishable cast than "Sholay". Or till some extend, this has the range, both chronological and geographical, this even tops "Gangs Of Wasseypur" or "The Godfather" series. There are many features and documentaries on this film and I remember someone telling this was Ghatak's El Dorado (Note that the kid in "Bari Theke Paliye" started his journey by inspired of the stories of El Dorado). One of the major positive change was in editing, and the uber famous Bashir Hossain did show his fresh take on cutting and transitions to both Bangladeshi and West Bengal audience. His technique was so liked that Ghatak hired him again for his own semi autobiographical "Jukti Takko Aar Gappo". Another thing is heavily layered and beautifully set up blocking, which we have been seeing from "Ajantrik" till his latest series, and kudos to Baby Islam's camerawork to take it to the next level. One of my friend told that Ghatak loved the relationship between a boat and camera, which was incepted in "Bari Theke Paliye", shown accordingly in the trilogy and blooms to its full potential in this film. Also, have to mention the plot explicitly as it shows the microcosm of a society of people who belong to the lower caste of a minority section and all the hierarchy was used for plots.

1. River and River and life related to that clearly depicted in the film Titas( Name of a river and peoples around it ) Ekti Nodir Naam ( Name ).

2. Clearly depicts how peoples of different religion lives side by side without effecting their livelihood. and still role is being played by the peoples who are rich and who are poor . In the name of religion , they created sect , actually which represents the privileged peoples and peoples who lives on fishing, farming and united . But some how money divides them actually rich uses it as a tool to destroy the unity and peace of a community.

3. River scenes, Boats and Rain greatly depicted in the film, excellent cinematography

This film by somewhat neglected Indian director Ritwik Ghatak is one of the most unusual I have ever seen. The stories are set among the harsh life around the banks of Bangladesh's rivers (one of the poorest regions of the world). It tells several gruesome tales: abductions, escapes, living among strangers, death, though the characters go through this with the resignation of someone who knows that life is hard and always have been. Now, having seen this film more than a decade ago, I cannot recall all the details. But the unusual part is the way this story is told. It puts a character at the center of the story for, say, twenty minutes, and then it moves to another character, who was playing a minor role in the first story. And then to another character, and so on. It is a collection of stories, but loosely (or not so loosely interconnected). Overall, a fine tapestry of life in one of the poorest parts of the world.

Again an uneatable work by Ghatak.At least for the Westerner, who does not have much of a clue about Hindouistic mythology and the life style of the Bengali people. Confusing. Contains scenes where someone tells short stories. Deterrent for good film making. Hitchcock would have not liked.

I tried to remember pieces of seeming senseless conversation parts. I could for one: "I knew a man who could recite the whole Mahabharata ..." Would you embrace and be impressed by a Western film wherein you hear someone stating: "I know a man who knows the whole Bible by heart"?

These may be cultural relativity. But filmmaking should not be dependent so much on it, especially its technical aspects. I have hardly ever seen a worse photography, a worse soundtrack. When the scenery consists of a talking group of people, we see them occupying the lower third of the frame, the lower limb cut off. About half of the frame is filled by the sky! No sort of surrealism or experimentation or exxageration.

The sound in the mostly open air, natural village background sounds shouting like if recorded in a narrow hall.