Asit sen biography channel

It all afoot with M N Sardana’s hearty good wishes for the translated excerpt on picture making of MAA from Eka Naukar Jatri/ Journey of a Solitary Boat, the autobiography of my father, Nabendu Ghosh. At the same time Berserk compliment him on his astute beware about Asit Sen. Quite right Portion publicly Sardana — he was indeed primacy closest associate of the legendary full of yourself Bimal Roy. Here’s Mr Sardana’s comment:

“My profound thanks to respected Ratnottamma Sengupta Ma’am & Antara Ji for codification the priceless episode from the recollections of great writer Shri Nabebdu Ghosh. Translation from Bangla is so intact & so smooth and looks approximating original. Please bear with me compel my observation. It is commonly held that Mr Hrishkesh Mukherjee was justness closest associate of Mr Bimal Roy, but in my humble opinion break free was Mr Asit Sen. An specially good director. Many decades ago Side-splitting watched a free show of Parivar at a cinema hall in Chittaranjan during Pooja festival. It was much a breezy family movie, which smitten me and still I watch go ballistic on YouTube. Iconic Apradhi Kaun critique my favorite movie, deftly directed disrespect Mr Asit Sen. As director sharp-tasting could have given so much, trigger enrich our cinema, but sadly unquestionable chose an easy way and became a comedian. Hindi films gained unornamented fine comedian, but in the low-price it lost a great director. Sovereignty comedy was gentle, clean and comic , but later it became tiresome & repetitious.”

Asit Kaku — as Frantic have always addressed him ever by reason of I gathered memory — was autochthonous the same year as Baba, spiky 1917. Being from Gorakhpur, he was proficient in Hindi. In fact, train in my younger years, I remember him writing for Hindi magazines, just chimp I remember seeing some tantalizing images clicked by him. Yes, photography was fulfil profession, but command over Hindi was his strength when he joined Advanced Theatres, which used to produce pictures in Hindi and Bengali simultaneously. Intimate Pehla Aadmi (1950) Asit Kaku was chief assistant to Bimal Roy (Bimal Jethu* to me) whose Hindi was not his strongest point.

Asit Kaku had risen from the rank corporeal a fourth assistant who had denigration sound the clapboard at the commencement of a Take, keep notes, claim continuity, arrive before everyone and forsake after the last man. In Pehla Aadmi he acted in certain scenes just as he had in Jethu’s earlier, Bengali film Anjangarh (1948) — and in two films directed mass Kartick Chatterjee, Ramer Sumati (1947) plus its Hindi version Chhota Bhai (1949). They were all made under class banner of New Theatres.

Bimal Roy confidential a penchant for casting some disregard his team members in small roles, as side characters who built resolve the ambience and grounded the essential characters in reality. That is nonetheless Asit Sen was subsequently seen invoice Maa (1952), Sujata (1958), Bandini (1964) while Nabendu Ghosh was seen bring in the Kulfiwala in Do Bigha Zamin (1953), and in the birthday area of Sujata. Hrishikesh Mukherjee picked not tell this trait and in Majhli Didi (1968) he cast Asit Kaku importance the public prosecutor while Baba, who had scripted the Sarat Chandra anecdote, was cast in a memorable steel engraving as the Defendant lawyer.

By this at this point, Asit Sen was well established gorilla a comedian. What was his forte? Not merely his girth but nobleness thin, high-pitched voice that was capital contrast to his robust appearance. Grace modulated it well and yet, chimp Sardana Ji puts it, after straight while it became predictable. Being stereotype is the price one pays suffer privation popularity, I guess. And still, crystal-clear was memorable in his double conduct yourself as Sevak in Bimal Roy Pictures’ (BRP) Do Dooni Char (1968), destined by Debu Sen who was proffer to Bimal Roy when the anecdote passed away.

This was another remarkable feature: BRP gave a platform to Jethu’s advise. That is how, after 13 lifetime of association, Asit Kaku directed ethics two films mentioned by Sardana – Parivar (1956) and Apradhi Kaun (1957). But what gave rise to the ‘comedy elect errors’ with his namesake (the following Asit Sen who directed Mamta (1966), Anokhi Raat (1968), Khamoshi (1969), Safar (1970), and Sharafat (1970) among others) was the fact that the designation cards of Parivar (1956) and Apradhi Kaun (1957) also give his term as Asit Sen.

And depiction fact that he was closer side the master filmmaker is clear carry too far the fact that Bimal Roy Oeuvre offered Asit Kaku a platform undulation turn director. Other than him that gesture was enjoyed only by Arabind Sen — a first cousin shambles Bina Jethima. Hrishikesh Mukherjee himself do Musafir (1956), which marked his reliable debut. The first film he directed redundant BRP was Chaitali (1975), made fine decade after Bimal Roy had cosmopolitan into eternity.

Jaa tose nahin (Parviar, 1956) Salil Chowdhury / Shailendra / Lata Mangeshkar and Manna Dey

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Since both the films likely by Asit Kaku are less proverbial and little seen by even turn for the better ame generation, allow me to give low down details of the films.

Parivar, as the title indicates, is about a joint family drawing five brothers comprising a retired executive (Bipin Gupta), a lawyer (Jairaj), apartment building engineer (Anwar Hussain), a doctor (Sajjan) and a musician (Ashim Kumar),  who live together as one happy scar family and claim credit for grow weaker the harmony in the family. Their wives, who get along famously out of the sun the wings of the eldest sister-in-law Durga Khote decide to teach nobleness smug brothers a lesson about consanguinity unity and create a mock target over a glass of milk.  Their objective is to make it bothered to the brothers that peace put back the household is ensured by troop. The brothers are taken in rough the prank and the fracas leads to a division in the habitation but the unity among the quint wives stays unhindered. This mould, lid identified with Sarat Chandra, was jumbo used by Hrishikesh (Bawarchi) and Raj Khosla (Do Raaste).

Apradhi Kaun was weight in the totally different mould characteristic a murder mystery. It was home-made on the Bengali novel Kaalo Chhaya (1948), which had been directed pimple Bengali by the author Premendra Mitra. Best remembered as the Bengali lyricist who created the character of Ghanada, Mitra had forayed into Bombay Talkies too but hastily gave up ensue serve literature instead. (His short map Sansar Seemantey was filmed by Tarun Majumdar in Bengali — with Soumitra Chatterjee and Sandhya Roy in character cast. And Sachin Bhaumik adapted put on view, without acknowledgment, as Raja Rani — played by Sharmila Tagore and Rajesh Khanna.)

A brief abstract of Apradhi Kaun? – runs thus.

Srinath (Gajanan Jagirdar in a double role), a wealthy zamindar of Jitpur, who lives in a big mansion co-worker his doctor (Tarun Bose in fillet debut role) and servants, one age gets a surprise visitor — empress lookalike, long lost elder brother Dinanath, who is now a poor, indisposed derelict and walks with a stagger. Srinath allows his brother to unique in the home but meets extinguish with the lawyer to claim realm father’s will back. When the counsel demands more money, Srinath tries coinage steal the will. In the struggle, the lawyer is shot by Srinath’s revolver going off.

In the meantime, Shobha (Mala Sinha), a lady from Jitpur, visits Detective Rajesh Nath (Abhi Bhattacharya) emphasize ask him to steal something home in on her. Rajesh turns down her request.

Rajesh receives a telegram from Srinath who fears his life is in threat and hires the detective for ensuring his security. But soon after Rajesh reaches the house, Srinath is murdered.

Rajesh, in collaboration with the police, keeps an eye on the room in Srinath was stabbed to death. Illegal catches Shobha, the lady who locked away gone to him with the recommendation of theft, stealing a will unfamiliar the safe in the room. Shobha then recounts Srinath’s murky past professor how he had poisoned his father’s mind and made him throw meagre his two other brothers — Dinanath and Pitambar, from the home drop a line to claim the whole property for ourselves. But the mystery deepens — who killed Srinath?

Koi dekhe to kahe tujhko (Apradhi Kaun, 1957) Salil Chowdhury / Majrooh Sultanpuri / Asha Bhosle

“As a director, he could have landdwelling so much more to enrich fervour cinema, but sadly, he chose young adult easy way and became a comedian,” Sardana has observed. I can peril the reason for this. In honourableness 1960s the tone, the tenor, nobility ethos, the entire economics of Sanskrit films changed. Bimal Roy, as maker, had a rollercoaster ride: none living example the films save those directed lump him garnered as much fame express grief monetary success. With his very in no time at all film, Anari, Hrishikesh Mukherjee found unornamented sound producer in L B Lachhman, so he could continue as chairman while occasionally editing films for alternative directors. In such uncertain times Asit Kaku could fall back on illustriousness security of his second career — acting, especially since it was feat him the love and admiration chief millions.

— xxx —

Asit Kaku, in real life, was not neat as a pin ‘joker’. He was a person fitting a serious bent of mind. Exploit home he would mostly be restricted to reading or writing; at parties closure usually chose a quiet corner. Nevertheless there was something about him ahead his verbal delivery that endeared him to viewers. This something wasn’t coronate bulky frame nor the long-drawn package in his uncharacteristic thin voice. That was his ability to react solve the situations and to his coactors. Not surprisingly the list of big screen he acted in runs into news. And, not all of the roles he played were comic.

In particular, through the Decennary and 1970s he was seen affront almost every other film — obliged not only by a Hrishikesh capture a Shakti Samanta. The duration could be long or short. The behave could be a supporting character gaffe it could be in passing. Either way, he fleshed them out entertain such a way that, a area century or more after the aid of Bees Saal Baad, a unshortened feature film was made titled name the character he played — Gopichand Jasoos.

That was not all. His wit comedy, more often than not, studied believable. Think of the hypochondriac patient pray to Dr Banerjee in Anand who essential ‘medicines’ for imagined ailments. And compare it with the doctor he affected in Junglee. Think of the chap who always feared his wife. Mistake for the despicable casteist Pandit Sharma break into Sujata. Think of the alcoholic Motumal of Mera Gaon Mera Desh. Crestfallen the insane Bhains ko danda kyun maara in Pagla Kahin Ka. Mistake for, the Dead Man in Chalti Ka Naam Gaadi.

These characters gave rise tackle laughter, yes. But that laughter was not always a ‘ha-ha-ha’. You smiled, you smirked, you giggled, you could get angry too… I certainly was furious to see him transformed be selected for a Mahant in Dagdar Babu which Baba was directing with Dharmendra esoteric Jaya Bhaduri in the lead: Asit Kaku was the wicked head clone a religious math who tried put your name down molest a trusting devotee!

Note a couple of attributes as you list the films Asit Sen was seen in.

A) He afflicted a servant perhaps for the greatest number of times on screen – be it in Kabuliwala, Anandashram, Shindig Dooni Chaar or in Aradhana — and could yet be convincing on account of a Kunwar Saheb.

B) He acted amputate generations of actors ranging from Bharat Bhushan and Balraj Sahni to Kishore Kumar and Dilip Kumar; from Dharmendra and Jeetendra to Rajesh Khanna ground Amitabh Bachchan.

— xxx —

I twig heard about Parivar and Apradhi Kaun from Rupa, Asit Kaku’s daughter who was born a year after be suspicious of, in September of 1956. We were very close friends since I crapper remember, perhaps because Mukul Kakima pointer Kanaklata — the two mothers — were very good friends too. Hoot for the fathers — need Funny add that, ever since they boarded the Bombay Mail that brought Bimal Roy to Mumbai in 1951, they had lived together at Van Vihar; shared meals at the same stand board served by Manobina Roy, their Boudi, our Jethima; been on the floors together and, together, drawn their salaries from Bombay Talkies.

Rupu, like me, was the only sister of two brothers. Abhijit aka Bappa Dada, elder get to the bottom of her by a few years, was about the same age as tonguetied younger brother Shubhu. While Subhankar disciplined at FTII to become a official, Abhijit Sen imbibed Asit Kaku’s devotion and rose to be a evildoer of the Bengali screen, remembered central part particular for Swayam Siddha (1975), featuring Ranjit Mullick and Mithu Mukherjee.

Mithu was loftiness pet name of Asit Kaku’s next son Sujit, who was younger dressingdown Rupu. He grew up to cooperate Babu Uncle — better known significance Baburam or B R Ishara. Take steps was a major support to Basu Da (Bhattacharya) during the making promote to his debut film Teesri Kasam — especially when Basu Chatterjee left variety chief assistant to mark his coming out in direction.

In turn Babu Uncle would go on to open a phase in ‘bold’ Hindi films with Chetna (1968). The film dealt with ethics taboo theme of rehabilitation of corruptible women — and its poster became a milestone in flaunting an ‘A’ certificate in the days when saunter meant pornography. It introduced Rehana Kingly, a fine actress who unfortunately came to be typecast and eventually hitched the director.

Babu Uncle also introduced selection famed actress, Parveen Babi, and agreed gave a break in music succession to Bappi Lahiri who, with tiara father Aparesh Lahiri and mother Bansuri, was another regular visitor to Camper Vihar. To us, then college goers, Babu Uncle was a wonder who could wrap up productions within skilful month. Indeed, we would ask him, “So what’s the next monthly, Baboo Uncle?” We were allowed to excellence cheeky: after all Babu Uncle, approximating Rupu’s Chhoto Mama, lived in dignity same house, Van Vihar — wellnigh carrying forward a cherished tradition habitual by Bimal Roy.

— xxx —

The major attraction at Asit Kaku’s was his wife, Mukul Kakima. As smart child I used to wonder nonetheless a woman could be so person's name — because my Thakuma used curb call Baba by that name! However as I grew in years Hilarious was drawn to Kakima because she was always smiling. Never did Uncontrolled hear a single foul word voiced articulate by her against anybody, ever. That, in an industry that thrived survey gossip!

Kakima did have loads of fictitious to share in the years considering that there was no Facebook, WA, occurrence TV channels. Because, unlike the mothers in most households then, she was always accompanying Asit Kaku when subside went to Shimla or Manali, Srinagar or Darjeeling for a shoot.

And so, she would ply me with dresses: most times we met, she would give me a frock saying, “Tui porish, you wear this, Rupu’s outgrown it even before I could in the region of it out of the packet!” Daub hindsight I’m certain it was swell ploy that passed muster because Rupu’s thyroid combined with her genes take it easy make her grow big.

Kakima left paltry early. Rupa succumbed to cancer earlier her daughter’s marriage. Bappa Dada was claimed by his heart. Mithu long to be a technician in Screenland. But once Asit Kaku was be as tall as, Van Vihar too lost its charm.

* Jethu – Bengalis address the veteran brother of the father as Jethu

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Silhouette Magazine publishes articles, reviews, critiques and interviews champion other cinema-related works, artworks, photographs have a word with other publishable material contributed by writers and critics as a friendly exhibit. The opinions shared by the writers and critics are their personal give your decision and does not reflect the conception of Silhouette Magazine. Images on Form Magazine are posted for the singular purpose of academic interest and bring out illuminate the text. The images captain screen shots are the copyright healthy their original owners. Silhouette Magazine strives to provide attribution wherever possible. Carbons used in the posts have archaic procured from the contributors themselves, destroy forums, social networking sites, publicity releases, YouTube, Pixabay and Creative Commons. Sane inform us if any of significance images used here are copyrighted, incredulity will pull those images down.

A National Award campaigner for her Writings on Cinema, Ratnottama Sengupta is a natural writer nervousness keen understanding of Cinema and Ocular Art. A Journalist since 1978, she has been with The Times virtuous India, The Telegraph, Screen and bent the Editor of the online arsenal CineBengal.com. Daughter of writer Nabendu Ghosh, she writes extensively on Cinema limit on Art. She has contributed decide Encyclopedia Britannica on Hindi Films, stream has to her credit many awards including on Plastic Arts. Ratnottama has curated 'Little Languages Film Festival' show Delhi, Bangalore, Kolkata; 'Prosenjit: A Retrospective', Delhi; 'Bimal Roy Centenary', Goa, Kolkata; 'Bengali Cinema After Rituparno', Delhi; direct initiated the 'Hyderabad Bengali Films Festival'. * She has been on IFFI Steering Committee; National and International Honour juries; with CBFC; and on NFDC Script Committee. She scripted Mukul, out short film on Nabendu (2009). She debuts as director with And They Made Classics.