Bengali cinema's complex relationship with endings, heroism, and reality

In cinematic storytelling, one is often trapped within the tantalizing web of happy endings and neatly resolved denouements. These celluloid reveries, often rendered in the vibrant arras of Bengali cinema, are not a mere reflection of artistry but a reflection of the human psyche's ceaseless quest for resolution. 

Yet, dear reader, should we not contemplate this preference for the consummate resolution? 

Why must the ever-watchful arm of the law swoop down like a deus ex machina at the eleventh hour? Why, in the eleventh hour, must the epiphanies of our protagonists illuminate the darkest corners of their souls? And why must problems always be solved with such unwavering precision in the grand weaving of life's complexity?

From the annals of religious mythology to the chronicles of historical legend, the human spirit has long yearned for heroic embodiment. It is a yearning that traverses the realms of Freud's id, ego, and superego, culminating in the aspiration to be the hero or heroine of one's own tale.

You see, the creators of cinematic narratives are not enigmatic beings hailing from distant galaxies; they are denizens of our own society. The creative impulse that courses through their veins stems from the same longing that animates us all. 

Yet, it would be remiss of us to overlook the significant influence of commerce in this endeavour. Concepts such as supply and demand wield considerable power, moulding the cinematic landscape to cater to the masses' desires. 

The distributors artfully supply the celluloid dreams the masses wish to see. When cinema patrons sit down to partake in the silver screen's offerings, they anticipate a narrative where the hero wields omnipotent agency, emerging triumphant against all odds.

Consider, dear reader, the age-old tropes that have become the marrow of our cinematic tales. Why is it that the heroine seldom emerges as the saviour? Why is it that the benevolent rich man often bestows his daughter upon the relatively impoverished protagonist, the hero? 

These questions, pondered in isolation, might appear insignificant in the grand fabric of human psychology. 

Yet, they are the threads that weave the dreamscape of our collective subconscious. Our yearning, dear reader, our ceaseless yearning propels us forward, forever chasing the elusive mirage of our desires.

In 1952, a luminary of Bengali cinema, Satyajit Ray, began producing 'Pather Panchali.' Ray, faced with budgetary constraints and governmental pressures, chose to chart his own course, eschewing the mandate for a happy ending. 

What transpired was a cinematic masterpiece that continues to captivate hearts to this day. We can traverse the annals of Ray's cinematic universe, beholding the likes of 'Apur Sansar' (1959), 'Nayok' (1966), and 'Jana Aranya' (1975). 

In 'Jana Aranya,' we witness the harrowing journey of a modest young man named Somnath Banerjee, whose ethical compass stands steadfast in the face of an unyielding reality. And yet, the relentless forces of circumstance lead him down a path he could never have foreseen, a path where he finds himself searching for a sex worker for a client, a sex worker who happens to be his best friend's sister. 

The contours of morality blur, the line between right and wrong becomes indistinct, and Somnath's journey unfurls without the sanctity of resolution.

In the annals of cinematic history, consider the seminal work of Tarek Masud, whose films 'Matir Moina' (2002) and 'Runway' (2010) paint a vivid tableau of societal tension and transformation. 'Matir Moina' delves into the daily life of a rural Muslim family on the cusp of war, offering a poignant glimpse into the moments before the liberation struggle. The canvas is painted with spontaneity, the hues of reality seeping through each frame. 

'Runway,' in turn, unfurls a narrative that unravels the intricate threads of societal manipulation, offering a stark portrait of the methods employed to galvanize a particular stratum of society.

Another luminary, Mostofa Sarwar Farooki, emerges on the scene with his masterful works, including 'Bachelor' (2003) and 'Pipra Bidda' (2013). Farooki is a maestro of creating climaxes that resonate with narrative purpose and definition. The magic of his storytelling lies not in the whimsical but in the logical, an artistry that stirs the hearts of his viewers with a profound and palpable impact.

The human psyche is a repository of fantastical yearnings, an enchanted realm where the boundaries of reality blur. Our souls, weighed down by the burdens of existence, seek solace in the escapist embrace of cinema. The frenetic crescendos, the climaxes that punctuate our cinematic journeys, provide a respite, a brief moment of catharsis amid life's tribulations. 

However, it is paramount that we do not misconstrue the messages embedded within these celluloid dreams. Some, misguided in their fervour, attempt to transplant the heroism of the silver screen into their own lives. They defy the laws, seek refuge in the arms of narcotics, and harbour dangerous desires for arms and violence.

Hence, dear reader, we must recognize the boundaries that encircle our cinematic experiences. We must acknowledge the delineation between fiction and reality, for the silver screen remains a realm of illusion, no matter how beguiling. To transgress these boundaries is to court peril, to lose oneself in the labyrinth of a false reality.

Yet, in the grand theatre of existence, those brave souls dare to push the boundaries of convention. Surrealistic films, flights of fancy, and realms of pure fantasy beckon to the avant-garde storytellers of our time. And should they choose to tread this path, they do so with the understanding that such forays into the realm of the surreal are but facets of a multifaceted industry. 

Amid the clamour of escapism, let us not forget the profound significance of artistry. For art, in all its myriad forms, enriches our lives, and within the boundaries of this sacred art form, creativity and brilliance flourish.

We, the Bengali people, share a deep connection with our film industry. It is a source of pride, a dosser woven from the vibrant threads of our culture and heritage. Our cinema is a mirror to our aspirations, a reflection of our desires, and a testament to our inexhaustible creative spirit. In the dappled light of the silver screen, we find solace, inspiration, and a glimpse of the extraordinary that resides within us all.

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