Ghatak’s trains: Motion, memory, and exile – GetBengal story
Where every train mirrors a story of longing, rupture, and return
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From Charulata to Mukherjee Dar Bou: the journey of women’s voice in Bengali cinema – GetBengal Story
Bengali cinema’s evolution from male gaze portrayals to powerful, women-centric storytelling and empowerment
Guru Kalamandalam V. R. Venkit: The Kerala maestro who became Kolkata’s own – GetBengal Story
From Kerala to Kolkata, Guru Venkit bridged cultures through Kathakali, devotion, and timeless artistic legacy
Jatra: The fading melody of Bengal’s folk theatre – GetBengal Story
In the villages and towns of Bengal, before the cinemas and the television screens, there had always been a remarkable tradition called Jatra. People from the neighbouring villages would come and gather in the open air to see a two-or-three hour live event. Jatra is a
When Politics, Realism, and Humanity shaped a New Wave – GetBengal Story
In 1972, at the time of his last film Jukti, Takko aar Gappo, when Ritwik Ghatak himself would say, “I have no theory” or “I don’t believe in slogans in cinema,” it is remarkable that the very same person’s first film as a director was an unmistakably leftist,
From Pen to Frame: The Timeless Role of Letters in Ray’s Cinema – GetBengal Story
Letters have long disappeared from our everyday lives. Once, there were messages. Now, we just “text.” With a single tap, we can send words instantly, and with another tap, erase them forever. In such a time, it feels necessary to pause and think about the
Redefining Womanhood: Female Characters in 1960s Bengali Cinema – GetBengal Story
Cinema has always been visually oriented, a desire for spectacle, from its very beginning. When the Lumière brothers screened their films for the first time, the rush of a train coming down the track made viewers feel something and irrevocably impressed a memory on us.
Uttam Kumar Lives On—A Star Who Became Timeless – GetBengal Story
Late 1980s. Aniruddha Dhar decided to make a docudrama on Uttam Kumar. The producers were Indrajit Sen and his brother Indranil Sen. It was planned as a television series for Doordarshan. The theme was this: an ageing filmmaker wanted to make a film on Uttam Kumar.
Birendra Krishna Bhadra – creator of ‘Timeless Mahalaya’ – GetBengal Story
Calcutta in the early 1930s was thriving to grow. In 1931 a casual brainstorming session on new programmes for All India Radio resulted in a rough outline of what is now known as Mahalaya, worked out with AIR programme director Nripen Majumdar. This was Calcutta of
Birendra Krishna Bhadra – creator of ‘Timeless Mahalaya’ – GetBengal Story
In 1966, All India Radio transitioned Mahalaya from a live broadcast to a pre-recorded format