Janala (The Window) - A Buddhadeb Dasgupta film starring Swastika Mukherjee-Indraneil Sengupta

JANALA - Bengali Movie Poster

Calcutta, Feb 16, 2011 (Washington Bangla Radio) Janala (Bengali, 2010) directed by award-winning film-maker Buddhadev Dasgupta has won international acclaim at screenings across many film festivals around the world. The release date of Janala in theaters in Kolkata is Feb 25, 2011. The cast includes Bengali actress Swastika Mukherjee (interview) paired with Indraneil Sengupta (interview). Veteran Tapas Pal also has a significant role in the movie.Swastika Mukherjee (Chokher Bali (DVD), Mastan (DVD) with Jeet, Partner) is the daughter of actor Santu Mukherjee.

Poet and Director Buddhadev Dasgupta (Uttara (DVD), Tahader Katha (DVD), Kalpurush (DVD) ) was recognized with a Lifetime Achievement Award in the Spain Film Festival, Madrid in 2008. As you know, Dasgupta is a seven-time winner of India's National Film Awards (five awards for best film and two-time best director).

In Janala, an alumnus of a rural school tries to improve the condition of the school by donating a window (Janala).

Janala premiered at the Masters of World Cinema section at Toronto International Film Festival starting September 10, 2009.

Synopsis

Buddhadeb Dasgupta's tales of Bengali life are both searing social comment and pure poetry. It's a delicate balance, and in The Window he once again transforms the complexities of today's India into a song of many harmonies.

Bimal and Meera are a young Kolkata couple, very much in love and on the verge of being married. But Bimal has an idealistic streak. On a visit to his old school, he sees how it has fallen into disrepair. He immediately decides that he must donate a beautiful new carved window to replace the now-decrepit one from which he gazed as a boy. It seems like a simple act of generosity, but in Dasgupta's Bengal, generosity can seed chaos.

The school sits in a lovely town by the sea and, not surprisingly, it is seized by village politics. The school's headmaster is outraged by Bimal's gift. What an insult to suggest that the window needs replacing! A simple gift of money would have been so much better. But Bimal borrowed to afford the window, and when the gift is rejected he finds himself with neither thanks nor the means to repay the loan. He can't bear to tell his fiancée.

Dasgupta directs this story with the assurance and fluidity of a master, weaving in a parallel plot about a pair of circus performers to contrast Bimal and Meera's story. He brings the threads together as the film reaches its climax, finding a way to satirize elements of Indian society while drawing closer to his characters.

Although The Window is in many ways a moral tale, what resonates most is the human emotion, especially between Bimal and Meera, as well as the surprising sensuousness. This couple shows a natural freedom in their love rarely seen in Indian cinema. And whether he is shooting a scene on a city tram or a magical trapeze sequence in the forest, Dasgupta takes that same freedom as his own.

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