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By Shantiswarup Tripathi
- Rating: 3 Stars
- Producers: Dev Adhikari, Prateek Chakravorty, Pritam Chowdhury, Sarbani Mukherjee
- Writer: Priyanka Poddar
- Director: Ram Kamal Mukherjee
- Cast: Rahul Bose, Rukmini Maitra, Chandan Roy Sanyal, Chandreyee Ghosh, Kaushik Ganguly, Rajdeep Sarkar, Om Sahni, Goutam Halder, Sourav Modak, and others.
- Duration: 2 hours 33 minutes
- Language: Bengali, with English subtitles
- Release Date: 31st January, Pan India
Binodini Dasi (1863-1941), also known as Nati Binodini, is a historical figure whose life story has inspired numerous filmmakers, including Pradeep Sarkar, but no one has been able to successfully bring her story to the big screen until now. Rumors have been circulating that filmmaker Anurag Basu is planning a film on Binodini Dasi’s life, with Kangana Ranaut in the lead. However, Ram Kamal Mukherjee, a journalist-turned-filmmaker who won a National Award for Ek Duaa, has brought Binodini 's life to cinema with his Bengali-language film Binodini: Ekti Natir Upakhyan. This film was released on 23rd January in West Bengal, and now, with English subtitles, it has been released pan-India on 31st January.
In her 1913 autobiography Amar Katha (The Story of My Life), Binodini Dasi mentions that she began acting at the age of twelve and distanced herself from the stage by the age of twenty-three.
Story:
The film begins with the childhood of Putti (Swara Bhattacharya), born into a poor family. She learns music from the courtesan Ganga Bai and attends music sessions with her. After watching a play at the age of nine, she dreams of becoming an actress. Through the manipulations of a courtesan named Golap (Chandreyee Ghosh), Putti gets the opportunity to act in a theatre production. Soon, she catches the eye of renowned playwright Girish Chandra Ghosh (Kaushik Ganguly), who mentors her, guides her, and introduces her to his plays. The role of her guru is played by Ranga Babu (Rahul Bose).
At the age of twelve, in 1874, she acted in a serious play under the direction of Girish Chandra Ghosh at the National Theatre in Calcutta, making a strong impression on everyone. With growing fame, she changes her name to Binodini (Rukmini Maitra). Girish Chandra begins calling her Binodini Dasi. Her career coincides with the development of the European-style proscenium theatre among Bengali audiences. Over her twelve-year career, she performed in more than eighty roles, including characters like Pramila, Sita, Draupadi, Radha, Ayesha, Kaikeyi, Moti Bibi, and Kapalkundala.
Binodini Dasi’s fame was so widespread that Prince Pratap Babu of Jaipur (Vishwajeet Ghosh) became infatuated with her, and they spent a month together in Varanasi. However, later, he deceived her and married a woman chosen by his parents. Afterward, Gurmukh (Meer Afser Ali), a Marwari industrialist from Rajasthan, noticed her, and to save the theatre, Binodini had to become his mistress. However, Girish Chandra and Ranga Babu betrayed her and prevented Gurmukh’s promise to build a theatre in her name. Instead, it became Star Theatre, entirely controlled by Girish Chandra.
In 1884, the great saint Ramakrishna (Chandan Roy Sanyal) of 19th-century Bengal came to watch one of her plays. After the death of Pratap Babu’s wife, he returns to Binodini ’s life and marries her, taking her away with him. After the death of Ramakrishna, Binodini returns to the brothel once again. She was one of the first South Asian actresses to write an autobiography.
In period films, the most crucial aspect is bringing the era to life on screen authentically. Director Ram Kamal Mukherjee has excelled in this regard with Binodini: Ekti Natir Upakhyan. The film captures the essence of 19th-century Kolkata beautifully. Director Kamal Mukherjee and art director deserve commendation for accurately recreating the era, from the popular shops of 1874-1876 Bengal to the costumes and hairstyles that reflect the time. The use of existing photographs of Binodini Dasi, Girish Chandra Ghosh, and Ramakrishna Paramhamsa adds another layer of authenticity to the portrayal.
However, the director has focused more on the latter part of Binodini Dasi's life, specifically her struggles with exploitation under the guise of 'Guru Dakshina' (gift to the guru) and her fame, rather than her early struggles. From a feminist perspective, the film could have delved into the socio-cultural pressures that forced Putti (Binodini ’s early name) into becoming a courtesan and examined the social perceptions and harsh realities she faced. The film misses an opportunity to challenge the established societal norms, a theme that could have added depth to the character's journey.
The film does succeed in portraying how Binodini faced social condemnation and struggled with her identity even after achieving fame as a theatre actress. The character of Ranga Babu and Girish Chandra Ghosh could have been explored further from a psychological standpoint, which would have enriched Binodini 's character. In fact, Ranga Babu’s character feels underdeveloped. The film also fails to acknowledge the unique makeup style Binodini used in her performances, a blend of European and Indian techniques, which was significant to her theatrical identity.
Kudos to Ram Kamal Mukherjee for introducing the forgotten actress Binodini Dasi to contemporary audiences. His film is a tribute to timeless human emotions and offers a chance for introspection. Cinematographer Soumik Halder does a commendable job of recreating the period, while the film's music could have been stronger. The folk music of that era, which was quite popular, is used sparingly. Shreya Ghoshal’s song Kanha is, however, a highlight of the soundtrack.
Acting:
A notable drawback is that many of the actors forget they are playing characters from the 19th century, with some characters speaking in a more modern tone, which feels out of place. Despite this, Rukmini Maitra’s portrayal of Binodini is exceptional. Rukmini, known for her roles in over ten Bengali films since 2017, proves her acting prowess with the complex character of Binodini. She truly captivates the audience, especially in her Kathak dance during the Krishna Geet sequence.
In her role as Ramakrishna Paramhamsa, Rukmini Maitra also shines, bringing a serene intensity to the character. As a mature woman grappling with loneliness and disillusionment, her performance leaves a lasting impression. Swara Bhattacharya, as young Putti, is a revelation and steals the show with her innocence and charm.
Kaushik Ganguly delivers a strong performance as the playwright-director Girish Chandra Ghosh, while Goutam Halder impresses with his portrayal of the cynical Dasu Babu. Chandreyee Ghosh is powerful as Golap/Ganga Bai, and Rahul Bose, although his role as Ranga Babu doesn’t offer much scope, provides an attractive and practical performance.
Chandan Roy Sanyal, playing Ramakrishna Paramhamsa, adds a spiritual dimension to the film. His calm presence offers a poignant contrast to Binodini ’s turbulent life, elevating the emotional depth of the narrative.