Three
women, three periods in Bengal history and a jewelry box which is
passed through these women and periods of history. The first woman,
Rashmoni was married as a child of 11 years and already widowed
at the age of 12. Married into a house of landlords, she spends her
life without joy except her collection of jewelry she brought as her
dowry into this short marriage. When the young Somlata marries into
the same family, they almost forget Rashmoni (called Pishima). When
the widow passes away her ghost passes the jewel box to Somlata and
warns her not to take anything from it and to hide it carefully. This
jewelry box is a bit like the earrings of Madame de by
Max Ophüls, a thing which is what it is but which also has different
meanings for its owners. For Rashmoni/Pishima this collection of
jewelry is the reward for an unhappy and lonely life, for Somlata it
will be a help to build up a life for herself and her husband and
finally for Somlatas daughter, it will be just old fashioned crap but
good enough for supporting freedom fighter in the Independence war of
the former East Bengal against Pakistan. After Somlata´s daughter
sold the jewelry, the mother finds the empty box and instead of
jewelry she finds love poems of a man who once loved her and whose
love she once rejected.
Like
most of Aparna Sen´s female character in her last 5 films, they are
not completely able to take their life in their own hands, but they
get an idea about this other life they are not able yet to live.
Exceptions are Somlatas daughter and Rituparna Sen Guptas Paromita
in Paromitar Ek Din (House of Memories. As the gender
relations in Aparna Sen´s film became more and more differentiated
at least since Yugant, but obviously since her male
characters played by Rahul Bose and Koushik Sen (who has a small role
as Somlata´s lover in Goynar Baksho), the universe of
Aparna Sen´s film is now one of the most complex in contemporary
narrative Cinema. Even in her flirts with genre elements, her 10 long
feature films display a versatility, her re-inventing of the Road
Movie in Mr. And Mrs. Iyer, the surrealism in 15
Park Avenue, the tragicomic elements in The Japanese
Wife and her play with different time levels
in Yugant, Paromitar Ek Din, The
Japanese Wife and Iti Mrinalini.
Goynar
Baksho is a ghost story, a comedy or better what the
French call “comédy dramatique”, a balance between tragic and
comic which, for example offers a new facet of actress Konkona Sen
Sharma as Somlata. Like in The Japanese Wife, Moushumi
Chatterjee as Rashmoni/Pishima is again the heart of the film. She
again plays a widow (even though a ghost of her) with humor and
sarcasm. Opposite to western definitions of ghosts or phantoms,
Pishima is neither good nor bad, neither a creature from hell nor
from heaven, but a creature who tries to continue her “existence”
in another way. She is a ghost but still with an ability for human
feelings, anger, pity or even able to feel moved when Somlata
dedicates the name of her Sari shop to Rashmoni´s memory. No wonder
that the interactions or shall I call it the “duets” between
Konkona Sen Sharma and Moushumi Chatterjee have a Mozart-like magic
and they can really vary from dead serious to comical, offering a
kaleidoscope of human emotions.
Actually Goynar
Baksho was supposed to be made by Aparna Sen in 1993 as her
fourth film after this very bleak
Stroheim-like Satee. It would have been Aparna Sen´s
first film with comical elements, elements which we find in her films
not before Mr. And Mrs. Iyer.
The
tricky thing with the films by Aparna Sen and especially her recent
masterpieces from up to Mr. and Mrs. Iyer is that
they might not attract everyone at the first sight. I know of what I
am talking (even though I am very slow) and I still remember how
disappointed I was when I saw Mr. And Mrs. Iyer the
first time and how it became after I have seen it nearly 30 times one
of the big journeys in my cinephile life. There are some keys hidden
in her films. If you find some than you are lucky enough to have
access into films where some some sudden flashes of pure cinematic
intelligence can make you dizzy in amazement
I
imagine a far future when most of the treasures of Cinema turned into
dust, some people who still find a copy of a film like Goynar
Baksho are still lucky enough to get an idea of the glory of
Cinema.
For
example Konkona Sen Sharma´s Somlata, at the beginning a nearly
isolated desperate woman close to the women in the early films by
Aparna Sen is locked into a house, almost prisoned among enemies.
Her
first glance into the backyard, her first glance to the roof of the
roof of the house where people enjoying watching rising kites. Her
glance and the camera open new rooms for a woman in a male dominated
feudal Hindu family. This is at the same time concrete, easy to
understand but as well as abstract like a part of a musical
composition. Just one glance by Sen Sharma paraphrased by a camera
movement leads to a moment of pure Cinema.
Imagine
the worst case if the soundtrack of the film will fail. You still see
enough. Even though Konkona Sen Sharma´s stammering character
Somlata is unforgettable (one of the few Indian female voices I
recognize in seconds) it will proof that when sound never had been
invented, she would also a great actress for silent Cinema like Ruang
Ling Yu, Zasu Pitts or Mary Pickford. No wonder that Sen Sharma fits
very well in Aparna Sen´s visual system of glances.
Even
though Aparna Sen followed never trends or fashions in her directing
career and even though she seemed to be uninfluenced by the
Avantegarde which was since early Cinema one of the few niches for
women filmmakers – I have to think in an old interview (what I did
1996) with Vietnamese-American experimental filmmaker Trinh. T.
Minh-ha and her definition how to “create new ground”. When the
female characters in Aparna Sen´s early films, were almost locked
into themselves and into the space the society has destined for them,
they begin gradually to break out, the middle aged woman in Paraoma,
the artist in Yugant, a dancer who still has to defend
her space against her husband. The first successful outbreak of a
woman in Paromitar Ek Din (a kind of link between
Aparna Sen´s early and her late films) and finally the most recent
masterpiece in this sub genre called Road Movie, Mr. and Mrs.
Iyer, a female protagonist can move for a while through a
wide landscape like men in the films by John Ford. Without any
intention to put her early films against her last
films (Aparna Sen´s film are communicating with each other anyway),
her films became broader in many ways and last but not least more
playful.
If
the ghost of the tragic aunt Rashmoni still reminds in Aparna Sen´s
early films than it strikes me that she can move through the world
almost without limits and not restricted by any gravitation.Not only
with bitterness and grieve over her tragic life but also with humor
and sometimes sarcasm, I imagine her as well as the revenge of the
desperate early female characters in Aparna Sen´s films. At the end
(even Rashmoni´s time as a ghost is limited) she disappears
into the fog exactly like the film.
I
know that is my own business when I feel through a film like Goynar
Baksho, The Japanese Wife, Iti Mirinalini
like travelling through 118 years of film history. Here I feel
greeted by Ozu, Ford, Hitchcock and there I feel the elegance of
Douglas Sirk or Max Ophüls, in her earlier films the cruelty of
Stroheim etc. But one thing for sure – in the ghettoisation of
contemporary Cinema, in the often stereotypical discussed conflict
between mainstream and art, entertaining and avantegarde, Aparna Sen
is like a fresh wind. A film like Goynar Baksho offers
you the luxury to laugh, cry, to be entertained and the some seconds
later to feel amazed by an Ozu-like cinematic intelligence.
Rüdiger
Tomczak
Anjan
Dutt whose film Dutta
Vs Dutta,
is another recent masterpiece from India, has written a beautiful
little column on Goynar
Baksho
My other texts on films by Aparna Sen
We are indebted to you Rudiger Tomczak !! Long live Shomingeki :)
ReplyDeleteThank you, Anamika.
ReplyDeleteThanks for the information. I really like the way you express complex topics in lucid way. It really helps me understand it much better way. jewelry box
ReplyDelete