To save Birwa, Santu takes the blame for the murder and goes to jail.Īfter 10 years Santu returns from prison. Everyone in the Mahiyavanshi house is pretending to live happily.
But Santu forces her way into the house, takes charge and starts many quarrels among family members. This brings many hidden problems to light. It was based on the story Tamasi by Jarasandha, pen name of Charu Chandra Chakraborty, a former jail superintendent who wrote many stories based on his career as a jailor in Northern Bengal, including many fictional versions of his experiences, Louha-Kapat (1953), Tamasha (1958) and Nyaydanda (1961), effective creating a new genre in Bengali literature of prison stories.Dharamraj has shut himself away in a room and stopped mixing with people. Thus the character of Kalyani gets lifted from that of a woman who is a prisoner of destiny to one who defines her own freedom. Mere Saajan Hain us Paar is sung by the musician S. She then decides to take care of Bikash and her love is again reborn.
#BANDINI SERIAL EPISODES 276 MOVIE#
They are always shown with a partition in between after Deven proposes her.Īnother symbolism used in the movie is the occasional shouting of All is well by the prison guard when nothing in the movie is and just as Kalyani is leaving prison for good, she receives yet another ironic message from a jail official, Ab ghar grihasthi ki jail mein qaid rahogi Now you will be imprisoned in the jail of household In the end, she finds Bikash at a ship harbour where she finds him in an ill condition. Kalyani is not ready for it and starts to stay away from him. That prompts her to poison her lovers wife, identifying her as the cause of her miseries in a moment of insane rage.ĭirector Bimalda captures her emotions as she resolves to commit the crime, with light and darkness falling on her face due to a welders torch and the thumping of iron in the background, and the ambient sounds as she inches towards the decision, pumping vigorously into a kerosene stove, without uttering a single word through it all. Kalyani learns that her father came to the city looking for her and died in an accident. In the city, she works as a caretaker of an obnoxious and mentally unstable woman, who turns out to be the wife of Bikash. The film is set in Bengal in the 1930s, during the British Raj, where Kalyani ( Nutan ) is the daughter of the postmaster (Raja Paranjpe) of the village, who falls in love with a freedom fighter, Bikash ( Ashok Kumar ), who later leaves her in the village promising to come back but never does.īroken by her fathers misery and that of her own, Kalyani moves to the city, to the singing of the sad song O Jaanewale Ho Sake To Laut Ke Aana. It was noted for its use of black and white film, to bring texture and form in simplicity mixed with richness, especially in the way he captured the prison environment. The movie has songs such as Mora Gora Ang Lai Le by Lata and the haunting and brilliant O Jaanewale Ho Sake To Laut Ke Aana by Mukesh. Nutan remains understated through the film, and the director employs irony and symbolism throughout the film to make his statement instead. The film also highlights the spirit of sacrifice in the youth during the freedom struggle when a youth would even sacrifice his future wife, at his partys command.ĭespite having a dramatic turn of events throughout the film, the melodrama never overpowers the narrative, the pace remains engrossing yet easy, and cinematography highlights the stillness and vacuum of prison life. This deep social concern is however conveyed subtly without being didactic, through the predicament of the main protagonist, Kalyani lodged in the prison through the majority of the film and her longing for freedom. Nutan is strongly supported by Ashok Kumar and Dharmendra, just beginning to make an impact in the film industry and directed by award-winning director Bimal Roy, who ventures into the life of a convict and reveals hisher humanity and the circumstances that often force an ordinary person to commit a crime. It is also the only film to have depicted the sacrifice made by ordinary rural women during the Indian independence struggle.Īfter casting her, in his previous women-centric film Sujata (1959), now the key laid in persuading Nutan out of her post-nuptial retirement to play the strictly raised, poetry-loving village girl, Kalyani. She must make a choice between two very different men, Devendra (Dharmendra), the loving prison doctor, and Bikash (Ashok Kumar), a man from her past. The movie tells the story of a woman prisoner serving life imprisonment for murder, Kalyani, the all suffering, selfless, sacrificing and strong, yet weak Indian woman.
However, due to her busy schedule she refused the role, which later went to Nutan, who had worked with Roy in Sujata (1959). The lead female role was offered to one of Roys favourite actresses Vyjayanthimala, who earlier worked with Roy in Devdas and Madhumati.
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