See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/324802200

Study of pc Barua'S Bengali celluloid version of Sarat Chandra

Chattopadhyay'S Novel Devdas

Article · January 2018

DOI: 10.5958/0973-967X.2018.00007.8

CITATION READS

1 674

1 author:

Manash P Goswami
Central University of Tamil Nadu
16 PUBLICATIONS   3 CITATIONS   

SEE PROFILE

Some of the authors of this publication are also working on these related projects:

Fake News View project

All content following this page was uploaded by Manash P Goswami on 28 January 2020.

The user has requested enhancement of the downloaded file.

 PC Barua and Devdas
(A critical study of PC Barua’s Bengali celluloid version of Sarat Chandra
Chattopadhyay’s novel Devdas)
Dr. Manash Pratim Goswami
Assistant Professor, Department of Journalism & Mass Communication
Indira Gandhi National Tribal University, Amarkantak, (MP)
(Abstract)
Devdas, the most filmed non-epic story of India, was authored by Sarat Chandra
Chattopadhyay, the versatile Bengali novelist and story writer of 19th century. The saga of the
making of films based on the tragic romantic hero Devdas, who was a victim of prevailing
social norms and customs narrated in the novel, was started from the silent era of India
cinema.

The celluloid version of Devdas has been re-incarnated more than a dozen times in more than
half a dozen languages across time, place and culture in different socio-economic and
political situations and the commercial demand of the story. The story of the novel even
adapted in Bangladesh and Pakistan twice to produce films in Bengali and Urdu language
respectively.

Although, Sarat Chandra’s Devdas enjoys the reputation of being the most adapted novel for
films in Indian history, but Pramathesh Chandra Barua’s acting and direction in the Bengali
version of Devdas produced in 1935 has been still appreciated in different circles even when
later versions in other languages earned more money and exposures. Pramathesh Chandra
Barua, popular known as PC Barua, who directed and played the role of Devdas made the
character of Devdas a cult figure and the film a milestone in Indian film industry. Even many
film critics of different periods anonymously had the opinion that Barua did not create
Devdas-indeed he was Devdas.

This paper focuses on the critical study of the significance of acting, direction, editing,
dialogue and treatment of the creative elements of PC Barua’s’ Bengali version of Devdas to
establish as one of the greatest classics of Indian cinema.

Key words: Sarat Chandra Chattopadhyay, PC Barua, Devdas, Bengali film.

Introduction
Sarat Chandra Chattopadhyay, born in Hooghly district of Bengal Presidency in 1876, was
one of the most prominent Bengali novelist and short story writers of 20th century. His
literary works mainly concentrated on the lifestyle, tragedy, struggle of the rural people and
the prevailing social practices of Bengal in late 19th and early 20th century. His invaluable
literary contributions included some highly appreciated, thought provoking and popular
novels, short stories and plays. He is one the most popular, most translated and most adapted
author of all time in Indian literary history.

Sarat Chandra’s novel Devdas, the most filmed non-epic story of India, was written in 1901.
However, he could find a publisher till 1917 for his romantic novel of tragic hero. After its
first publication in May 1917, the novel made so much impact across the country in the
literary circle that publishers have never been tired of reprinting Devdas repeatedly over last
100 years.

The celluloid version of Devdas has been re-incarnated across time, place and culture, in
different socio-economic and political situations and the commercial demand of the story.
From Naresh Mitra’s Devdas (1928), produced in silent era of Indian film, Sarat Chandra’s
novel Devdas has been transform into more than a dozen of films. Our neighbouring
countries, Pakistan and Bangladesh, filmed twice the story of Devdas in Bengali and Urdu.
As a matter of fact, the celluloid version of Devdas has been produced in more than half a
dozen of languages, from Urdu, Bengali to Assamese, Hindi to Telugu and Tamil to
Malayalam. Although, Sarat Chandra’s Devdas has been the most adapted novel for film in
Indian history, but Barua’s performance in Bengali version has been still appreciated in
different circles even when later versions in other languages earned more money and
exposures. This paper focuses on the critical study of the Bengali version of Devdas with
respect to acting, direction, treatment of creative element and technical skills of PC Barua in
the making of epoch-making film Devdas, based on the novel of Sarat Chandra
Chattopadhyay of same title. The paper encompasses to achieve the followings objectives. To

1. appreciate role of Barua’s personal life in the portrayal of the character of the novel.
2. understand the approach of Barua in the transformation of the novel to celluloid
version.
 3. examine the style of acting, dialogue delivery and role of body language in the film.
4. comprehend the editing skill, production techniques and creative treatment Barua
employed in the film.
Barua’s Saga of Devdas
Pramathesh Chandra Barua, popular known as PC Barua, who directed and played the role of
Devdas in the Bengali version in 1935, made the character of Devdas a cult figure and the
film a milestone in Indian film industry. Although, Barua was born as a son of the king of
Gauripur estate but he never had fascination for ruling his estate. He rather ruled the early
decades of Indian cinema with his versatile acting and direction.

The novel that transformed to celluloid had substantial social relevance and significance of
pre independence India. Barua’s Bengali version of Devdas was one of the early films to
portray the social ramifications of a man of high society who moves away from his feudal,
upper-class bastion in rural Bengal to the colonial city of Calcutta. The film was a wonderful
portrayal of a man with immense mental trauma, torn between the attachment to his village
roots and his desire to run away to the city to escape from the tragic end of his love story. His
aimless travelling and surrender to alcohol for self-destruction in the film could be
understood as state of a human dilemma with social norms and aspiration. With enormous
success in box office and appreciations in different sections of the society, Barua introduced
the saga of Devdas in the country in 1935, which still continues even after more than eight
decades of its first production.

The grand success of the Bengali version motivated PC Barua to direct Hindi and Assamese
version of Devdas in 1936 and 1937 respectively. With KL Saigal and Phani Sarma in the
role of Devdas in Hindi and Assamese version, both films continued the saga of Devdas
beyond Bengal and immortalized the tragic hero of Sarat Chandra’s novel.

With all three versions, Barua established Devdas as an all-time classic of Indian cinema.
Indeed, the film marked the blossoming of Indian cinema with fervent depiction of human
tragedy. Although, Barua was not the first filmmaker to direct Devdas, Naresh Mitra made
the silent version in 1927. However, the film historians and critics found Barua’s Devdas so
captivating that the character of Devdas was identified with Barua most. With his Bengali
versions of Devdas, the tragic character became a cult figure.
It is often said that Barua did not create Devdas-indeed he was Devdas. In the success, be it
box office collection, establishing Devdas as cult figure and appreciations received from
critics for Devdas, Barua had immense contribution in art and craft of the film. Besides, his
acting talent and direction skills, many had the opinion that he himself was a Devdas in real
life.

Real Life vs. Reel Life

When Barua was 18, the family arranged his marriage Madhurilata, the daughter of Mitra
family of Calcutta. Leaving his wife back home to run the estate, he landed in Calcutta for
higher studies. While in Calcutta, he felt in love multiple times and married at least twice
more. Jamuna Barua, who acted in the role of Paro in Devdas, was his third wife. His second
marriage with Amalabala was against the wishes of both families. His life with second wife
living in a little rented room was told to be the happiest time. Barua was devastated after the
death of his second wife.

PC Barua was living life in the state of intense pain during the production of the Bengali
version of Devdas as Amalabala Devi (Kshiti) died just before his work started for the film.
PC Barua and the tragic hero of the novel Devdas were in the similar state of mind during the
production of the film. Similar to the extreme grief of Devdas at marriage of his childhood
sweetheart Paro to an elderly man, Barua was also under mental trauma when he lost his
beloved wife Kshiti. In the Bengali version of Devdas, made during the period of his personal
agony, certainly had impacted in his role as Devdas. Perhaps, it was reason why Barua’s
sadness and disappointment reflected in the role of Devdas came naturally in the Bengali
version of Devdas.

Novel to celluloid
In the context of 1930s, when the technology of film making was not so advanced, PC Barua
made a valiant attempt to direct a film which was assumed unfilmable. It was the rare talent
of Barua that he could manage to express the agony of the tragic hero of the novel intensely
to the viewers.
As a realistic approach, Barua did not just translate the story of Devdas from novel to
celluloid. Barua, rather smartly used the novel as just raw material, applied his skills and
creativity to transform literary style of the novel into visual and dialogue sequences. He
deviated from the novel in several occasions. He probably realised that such deviation or
alteration may not create much effect on the film. He cut short the childhood sequence of
Devdas and replaced with a quick look of his teenage before leaving for Calcutta. The
character of Devdas was also not portrayed as awfully drunk as the novel depicted.

On the contrary, Barua expanded certain situations that the original novel does not elaborate.
The brief sequence of Devdas arriving in Calcutta and meeting his cousins and their friend,
Chunnilal, for the first time, was added in the film. Of being ridiculed for his dressing sense
of a countryside man and turning into a sophisticated gentleman was Barua’s own idea. The
role of Chunnilal found more prominence in the film. Probably, it was more for a practical
reason that film audience can identify him by his name and face and recognize him from first
meeting with Devdas in Calcutta, through the introduction of Chandramukhi, all the way till
end. The long scene of Devdas travelling through train and never setting down anywhere was
Barua’s self creation in the film. The novel of Sarat Chandra had a mention of Devdas going
for travelling, but no mention of a long train travel. The novel depicts that Devdas travels
throughout India, meets his mother and Chunilal in extreme pain, and finally lands in Paro’s
village. The sequence of Devdas travelling by train adds some more interest towards the end
of the film.

Unlike stereotype films and romantic melodrama, Barua made his film Devdas a noble
tragedy. The characters of the film were not depicted as heroes and villains, rather ordinary
people affected by rigid social norms and system. Even the protagonist of the film was not
presented with any heroic dimension in the film. His weaknesses, narcissism and humanity
were depicted through emotion, dialogues and sequences. His life utterly driven by his
passion and inner-conflict was significantly visible in Barua’s Bengali version of Devdas.

Style of Acting
The life Pramathesh Chandra Barua was no less than a mystery. His rise as a stylish actor and
skilled director was matched with catastrophic failures in his personal life. Although, he was
not labeled as tragedy king of Indian cinema, but he was popular for his roles of sad
characters in theatres and films. His rise as a versatile actor and director was matched
disastrous failure in his personal life. It may be one of the reasons behind Barua himself
playing the role of Devdas in Bengali version of the film.

Barua kept his face almost deadpan and used minimum body language in Bengali version of
Devdas. He left it to his viewers to read from his emotions and from the total mise-en-scene.
It seemed he was aware of the difference of acting from stage to the cinema hall. Barua
introduced the audience of cinema to a new style of acting that blended natural and
unaffected performance of skills, an exit from the theatrical mode. His adaptation of simple
and easy-to-follow dialogues in Devdas without any literary nuances made the medium of
cinema a popular form of entertainment among the mass. His acting performance in Devdas
raised the bar of the performance and medium of cinema.

PC Barua’s performance as actor in the Bengali version of the film was so brilliant that it was
found to be difficult to draw the line between the Devdas on screen and Pramathesh Barua,
the real man who was simply playing the role. Barua in the character of Devdas engrossed so
completely, so flawlessly and so perfectly that he brought the character to life on celluloid.

Composition and delivery of Dialogue

The Bengali version of Devdas was a beautiful example of the effective use of small and
simple composition of sentences, away from dramatic lavishness or literary nuances. His
experiment in Devdas with breaking each sentences into small bits and delivering each bit
separately created a new style in Indian cinema. His dialogue delivery style of slow, soft and
beautiful modulation became a hallmark all of New Theatres’ films in subsequent years.

Barua’s style of to underplay, to express emotion with shaky voice and use significant pauses
in the film between the dialogue to create substantial effect. The natural tone spills over to the
dialogue of Barua produced a lot of impact in the film. In order to bring realistic feel, Barua
delivered the dialogues in the film in European naturalistic style. Nevertheless, many
criticized the tone and style of dialogue delivery in the film Devdas as unnatural.

Creative treatment
Barua’s passion to express and experiment with symbolism was very much evitable in
Bengali version of Devdas. When Devdas in extreme mental agony travel aimlessly, in one
scene he vomits blood. In the next scene, the camera cuts in to show a plate of floral offerings
fall off Parvati’s hands, far away in her married home. In another scene, one night while
Devdas aimlessly travelling on train shouted the name of Paro, suddenly the scene cut to
show the doors and windows burst open in Parvati’s room as she screams out in sleep in the
middle of a nightmare.

These beautifully and creatively treatment scenes make his film Devdas far superior than the
films of contemporary filmmakers. He was very much successful in the attempt to exhibit his
imagination through the language of cinema and the psychological stress the protagonist was
going under. The film is a wonderful display of telepathic bonding the lovers shared, without
reducing these to melodrama or using sentimental dialogue.

Editing skills
In the production of all his versions of Devdas, he displayed his exemplary talent particularly
in the editing of the film that elevated him to the upper echelons of the contemporary
directors of the country. With experiments of many new ideas and compositions in the
picturisation of songs, voiceover and credit tiles, he always proved his mettle. In several
instances the effective uses of jump cuts, which used to be very rare in the early decades of
India cinema, heighten the dramatical aspects of the film.

It is noteworthy that his brilliant editing skills turned the character of Devdas into a tragic
icon in the country. Needless to mention that the editing and acting brilliance of PC Barua in
Bengali, Phani Sarma in Assamese and KL Saigal in the Hindi version of Devdas
immortalized tragic hero of Sarat Chandra’s novel of the same title across the country.

A section of film critics highly appreciate PC Barua’s valiant effort to transform the story of
Devdas from novel to film than the rest of the versions of other directors. As they believe, in
the context of film technology of 1930s and the creative treatment of the emotional elements,
the novel Devdas was unfilmable. Many of them have the opinion that Devdas became a cult
figure and the movie a milestone in Indian cinema, it all because Barua himself was a kind of
a Devdas in real life.
Barua’s adaptation of the novel in Devdas portrayed immaculately the tragic life of the
protagonist starved with joy and laughter. His reflection of creative instincts and technical
superiority over his contemporary reflected his proficiency in editing skills for dramatic
effect, applications of symbols, esthetic uses of close-up shots for image construction and
sound to suggest telepathic communication between the characters. The skillful
representation of emotion of the characters with powerful visuals and dialogue delivering
techniques made Barua’s cinematic versions of Devdas much superior than rest of the
versions of different periods. With experiments of many new ideas and compositions in the
picturisation of songs, voiceover and credit tiles, he always proved his superiority over his
contemporaries.

Alternation of climax
The climax of Barua’s Bengali version of film Devdas was different from the original story
of the novel. Had Barua presented the climax scene of the film that ended in the manner the
novel did, the audience might not have understood it. Having realised it, the decision of
Barua to change climax, where Paro heard that her Devdas was dying under a tree outside her
house and door began to close as she tried to rush out, was found to be meaningful and
significant sequence. The scene of the closing door is metaphor against the social taboo of a
married woman of coming out to see her former lover, crossing the doorsteps of her marital
home. It was Barua’s own conceptualization and portrayal of the scene to leave powerful
imageries of the tragic end and prevailing social system of Bengal on viewers. When Sarat
Chandra saw the film, even he appreciated the climax for the metaphorical end with powerful
message.

Conclusion
Sarat Chandra Chattopadhayay, the author of the original novel, after watching Barua’s
Bengali version of Devdas was very much elated on the brilliant adaption of his novel
Devdas for film. He paid a rare tribute while saying “It appears that I was born to write
Devdas because you were born to recreate it in cinema.” Perhaps, for Barua nothing could as
big as the remark of the author of the most coveted novel of Bengali literature for his film.

PC Barua has been always remembered as highly economical filmmaker, perfectionist and
strict disciplinarian. His mannerism, dialogue delivery and style of walking drew attention of
viewers. In fact, his works were labeled as Barua’s style of acting and direction. The
powerful impact and endurance of the brilliant acting performance in the film could be
 understood from the fact that Devdas became synonymous with Barua, who played the
character. The significant chapter that Barua added with his film Devdas in Indian cinema
can be understood from the fact that his Bengali version of Devdas has been referred as one
of the greatest classics of India cinema.

References
• Barnouw, Erik & S. Krishnaswamy. (1980). Indian Film . 2nd edition. New York: Oxford
Press.
• Chatterji, A Shoma. (2008). PC Barua: Legends of Indian Cinema. SCB Distributors.
• Dwyer, Rachel. (2014). Bollywood's India: Hindi Cinema as a Guide to Contemporary India.
London: Reaktion Books Ltd.
• Gulzar., Nihalani, Govind., & Chatterjee, Saibal. (2003). Encyclopedia of Hindi
Cinema. New Delhi: Encyclopedia Britannica (India) Pvt. Ltd.
• Raheja, Dinesh and Jitendra Kothari. (1996).The Hundred Luminaries of Hindi Cinema .
Bombay: India Book House Publishers.
• Rajadhyaksha, Ashish and Paul Willemen.(1994). Encyclopedia of Indian Cinema . London:
BFI Publishing.
• Rajadhyaksha, Ashish. (2009). Indian Cinema in the Time of Celluloid: From
Bollywood to the Emergency. London: Indiana University Press.
• Rangoonwalla, Firoze. (1975). 75 Years of Indian Cinema. New Delhi: Indian Book
Company.
• Saroha, Khushee.(2014). “Caste and Gender Dynamics in Indian Cinema from 1930s
to 2000s.” International Journal of Innovative Research and Development. pp 397.

View publication stats