The Eastern India Cinematographers' Association (EICA) has released the Documentary film PADATIK (THE STRIDER) - A Documentary on the Works of multifaceted maestro Indian Film Director TAPAN SINHA.
EASTERN INDIA CINEMATOGRAPHERS’ ASSOCIATION was born in 1986. The ASSOCIATION now has a permanent office within the premises of N. T. 1 studio. This has been possible due to Asit Chowdhury the then Managing Director of N. T. 1. Studio and IFL, and the present Managing Director Ramlal Nandi deserves a thousand praises for his continuous support to us. The first President of EICA was the veteran Cameraman Deojibhai Padhiar, under whose able guidance many new activities were initiated. A Benevolent Fund was created to support aged and indisposed cameraman. Other type of financial help was also made available to any member in case of emergency.
Note: All information in this post is from the EICA web-site.
The post Second World War era ushered in radical socio-political changes and the repercussions could be felt in the very creation of world films, and in the changing tonalities and inflexions of language. “The Bicycle Thieves” released in Italy in 1948 introduces us to the concept of neo-realism. Coincidentally, this was also the time when a handful of Indian directors were trying to adapt the framework of world cinema to suit the Indian ethos. Indeed, it was time for Bengali cinema to open up newer horizons. Satyajit Ray’s groundbreaking “Pather Panchali” presented itself to the world audience with haunting shades of neo-realism. Even before 1955, Tapan Sinha had already completed filming “Ankush” in 1954 his first directorial venture.
An elephant, as the protagonist of “Ankush”. The prevalent opinion of contemporary directors regarding the subject matter of this film was that Tapan Sinha had successfully provided a new idiom for Bengali cinema, a path breaking example. Tapan Sinha’s life spans the years between 1954 and 2006, during which time he made more than 42 films. Viewed even in 2009, Sinha’s films retain highly relevant socio-political implications. Tapan Sinha’s films ranged from mainstream literature, crime thrillers, politics, human relationships, comic capers, children’s films and music oriented scripts. He was one of those few directors who filmed the literature of Rabindranath Tagore.
The oeuvre of Tapan Sinha’s creations depicts a cross section of social problems, personal cravings and societal changes. In the larger backdrop of the political turmoil intrinsic to the Indian sub-continent, he foregrounds the issues related to Bengal in all its regional idiosyncrasies. He was of the opinion that the political atmosphere and philosophy of the all the nations were duly reflected in their films and India was no exception. Yet he himself deviated from the rule when he chose instead to portray the prevalent dictums of society and went with the flow of societal changes.
Tapan Sinha and Satyajit Ray were the foremost directors who chose to plumb the depths of Indian music ranging from folksongs, Rabindra sangeet, and classical music and use them aptly in their films.
Tapan Sinha…the one man army epitomizing the arts of directorship, sound recordist, script writer and music director stands as a unique example to the modern generation of cinema lovers. Even in the ripe old age of eighty or more, he has successfully generated newer dimensions to cinematic themes in this documentary film. Ill health and age may not allow him to go back to shooting, yet his spirit is indomitable. He can never stop…and that is what he reiterates in his documentary when he states that film making can know no ends. He wants to forge newer roads of development. Undoubtedly, Tapan Sinha stands as a remarkable strider in the world of Indian and Bengali cinema transcending time and limitations.