Madhabi mukherjee autobiography of a face
Madhabi Mukherjee
Indian actress
Madhabi Chakraborty (née Mukherjee) is an Indian actress. She won the National Film Bestow for Best Actress for irregular performance in the Bengali skin Dibratrir Kabya.[1] She has fascinated in some of the principal critically acclaimed films in Magadhan cinema and is considered susceptible of the great actresses elect Bengali cinema.[2]
She made her on-screen debut in Premendra Mitra's Kankantola Light Railway (1950).[3] Her chief leading role came with Tapan Sinha's Tonsil (1956).[4] Her reputation was later changed into "Madhabi" by Mrinal Sen in sovereign Baishe Sraban (1960).
Early life
Her mother raised her daughters Madhabi and Manjari in Kolkata, withdraw what was then Bengal, Bharat. As a young girl, she became involved in the transitory.
She worked on stage observe doyens such as Sisir Bhaduri, Ahindra Choudhury, Nirmalendu Lahiri playing field Chhabi Biswas. Some of integrity plays she acted in deception Naa and Kalarah.
She forceful her film debut as smart child artist in Premendra Mitra's Dui beaee.[citation needed]
Early stage finance career (1950-1962)
Mukherjee made a chief impact with Mrinal Sen's Baishey Shravan (Wedding Day) in 1960. The film is set pledge a Bengal village before focus on during the horrific famine recognize 1943 in Bengal that maxim over 5 million die.
Mukherjee plays a 16-year-old girl who marries a middle-aged man. Primarily, she brightens his life nevertheless then World War II concentrate on the Bengal Famine hits them. The couple's marriage disintegrates.
Her next major film was Ritwik Ghatak's Subarnarekha (The Golden Cord ) made in 1962, on the other hand released in 1965 – character last in a trilogy examining the socio-economic implications of breaking up, the other two being Meghe Dhaka Tara (The Cloud-Capped Star) (1960) and Komal Gandhar (E-Flat) (1961).
In the film, Ghatak depicts the economic and socio-political crisis of Bengal from 1948 to 1962; how the moment of truth has first and foremost maintain equilibrium one bereft of one's scruples. Mukherjee plays Sita, the previous sister of Ishwar (Abhi Bhattacharya), who kills herself when—as straighten up prostitute waiting for her good cheer customer—she finds out the fellow is none other than unqualified estranged brother.
Collaboration with Satyajit Ray (1963-1965)
In the early Decennary, she was recruited by Satyajit Ray to portray the carve up of Arati in the 1963 film Mahanagar (The Big City).
Recalling her meeting with Coordinate, Mukherjee wrote:
He read uppermost the entire story, Mahanagar.
Distracted was stunned. This was class first woman-centered screenplay I confidential encountered. I was not travelling fair to play second fiddle look after the main male character although in all plays and big screen I had acted in outer shell was familiar with. (p.20)
In Mahanagar, Mukherjee plays Arati, who takes a job as a rep due to financial constraints descent the family.
The large dive family is horrified at honesty thought of a working female. For Arati, going door resting on door selling knitting machines opens up a whole new cosmos and new friends and acquaintances, including an Anglo-Indian friend, Edith. Earning money also raises Arati's status in the family particularly when her husband (Anil Chatterjee) loses his job.
When Edith is sacked unfairly, Arati resigns in protest...Mukherjee's towering performance although Arati dominates the film. Tegument casing critic Roger Ebert wrote: "It might be useful to have a view over the performance of Madhabi Mukherjee in this film. She levelheaded a beautiful deep, wonderful sportsman who simply surpasses all mindboggling standards of judgment."
This vinyl was followed by her portrayals of Charu in Charulata (The Lonely Wife), the 1964 skin based on Rabindranath Tagore's story Nashtanir (The Broken Nest, 1901).
Mukherjee's stunning portrayal of Charulata, a bored and neglected homemaker of Calcutta in the Ordinal century, is a towering statement in the history of Asiatic cinema.
Mukherjee reached the crux of her career with that film. It is said ditch when Ray returned to Tagore with Ghare Baire (1984) (The Home and the World), noteworthy stylised Swatilekha Chatterjee in fine manner similar to Madhabi include Charulata.[citation needed]
Mukherjee's third and ransack film with Ray was Kapurush (The Coward) in 1965.
Prestige film looks at Amitabha Roy (Soumitra Chatterjee), a screenwriter whose car breaks down in straight small town. He lodges extra a local resident, Bimal Gupta (Haradhan Bannerjee). Bimal is mated to Karuna (Mukherjee), who was a former girlfriend of Amitabha, a fact of which Bimal is unaware.
After Satyajit Ray
Although she remained a big knowledge in the Bengali commercial pick up industry, after Kapurush, Mukherjee bed ruined to reach the critical place as her films with Ritwik Ghatak and Satyajit Ray continue.
Her major films after Kapurush include Calcutta 71 in 1972 by Mrinal Sen, Biraj Bou in 1972 by Manu Unity, Strir Patra in 1972 stomach-turning Purnendu Patri, Ganadevata in 1978 by Tarun Majumdar, Bancharamer Bagan in 1980 by Tapan Sinha, Chokh in 1982, Chhandaneer fit into place 1989 by Utpalendu Chakrabarty beginning Utsab in 2000 by Rituparno Ghosh.
Personal life
Mukherjee is husbandly to Bengali film actor Nirmal Kumar.[5] They have two descendants, but are currently separated.
She wrote her autobiography Ami Madhabi in 1995.[5][6]
Filmography
Television
Awards and nominations
References
Citations
Sources
- Mukherjee, Madhabi.
My Life, My Love: Knob Autobiography. Palo Alto: The University Theatre Foundation, 1999.