{"id":3774,"date":"2017-09-15T22:04:11","date_gmt":"2017-09-15T16:34:11","guid":{"rendered":"https:\/\/learningandcreativity.com\/silhouette\/?p=3774"},"modified":"2017-10-01T22:34:53","modified_gmt":"2017-10-01T17:04:53","slug":"sarat-chandra-stories-made-into-films","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/sarat-chandra-stories-made-into-films\/","title":{"rendered":"Why are Sarat Chandra\u2019s Works So Popular Among Filmmakers?"},"content":{"rendered":"
\"Sarat

Sarat Chandra Chattopadhyay\u2019s works have remained a hot favourite with Indian filmmakers<\/p><\/div>\n

The love-hate relationship between literature and cinema is not new. Among all Indian authors, Sarat Chandra Chattopadhyay\u2019s works, apart from a few others, have remained a hot favourite with Indian filmmakers. What is it that makes him so popular decades after his novels were first published, and later translated in all the major Indian languages? Is he different from other Indian writers in some ways? Or, does his fiction lend itself better to the language of cinema than do those of other Indian writers? What makes his fiction attractive equally to both Indian filmmakers and to the Indian audience?<\/p>\n

Sarat Chandra wrote novels, novellas, and stories. His maturity coincided with the gathering momentum of the national movement together with a social awakening about the ills that plague society, mainly rural and also urban. Much of his writing bears the mark of social turbulence.\u00a0Sensitive and daring, his novels captured the hearts and minds of hundreds of readers both in Bengal and in the rest of India.<\/p>\n

\"Sisir

Sisir Bhaduri, the Nata Samrat<\/p><\/div>\n

Sarat Chandra\u2019s works have a sense of timelessness, a universality that makes them both cinema-friendly and topical for filmmakers. The directors\u2019 fascination for this author never seems to cease. The audience never fails to be trapped by its transient hypnosis. The social and domestic ambience in his novels may belong to days long past, but the story interest, the romance of his characters, the fluid and dramatic changes in their inter-relationships hold the reader and the audience in a trance, never mind any question of credibility or logic they might raise.<\/p>\n

The first (silent) film\u00a0Aandhare Aalo<\/em>[1]<\/a>\u00a0based on his story was screened at the Rasa (Purna) Theatre and was directed by ‘Nata Samrat’ Sisir Bhaduri jointly with another pillar of theatre, Naresh Mitra. Mitra also made a film on the author\u2019s much debated Palli Samaj<\/em> in 1932. \u00a0Kantibhai Rathod made a silent film based on the writer\u2019s Kamallata<\/em> (1925) who is the main character in one of the four parts of Srikanto.<\/p>\n

The first sound film based on his story was\u00a0Dena Paona<\/em>[2]<\/a>\u00a0 directed by Premankur Atarthi (1931.) Dhirendranath Ganguly directed Charitaheen<\/em> (1935.)\u00a0 In 1936, Prafulla Roy made Pujarin<\/em>[3]<\/a>(Hindi) based on Dena Paona<\/em> which featured K.L. Saigal, Chandrabati Devi, Pahari Sanyal and the great blind singer Krishna Chandra Dey.<\/p>\n

Jo Beet Chuki So Beet Chuki<\/strong><\/em> (Pujarin<\/em>, 1936) Timir Baran \/ Kidar Sharma \/ KL Saigal<\/span>
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