One of the greatest filmmakers of all time, Bimal Roy (12 July 1909 – 8 January 1966) is renowned for his realistic and socially relevant films, including “Do Bigha Zamin,” “Parineeta,” “Biraj Bahu,” “Devdas,” “Madhumati,” “Sujata,” “Parakh,” and “Bandini.”
His work is particularly known for his “mise en scène” (a dramatic arrangement of the camera—the sets, props, costumes, actors, and lighting), which he employed to portray realism.
Shaam ke kohre me bahta hua khamosh nadi ka chehra
Gulzaar for his Guru Bimal Roy in “Kucch Aur Nazmein”
Gandumi kohre me jalte hue aankhon ke chirag
Ek lagataar sulagta hua cigarette ka dhuan
Neend me doobi hui door ki maddham aawaz
Ajnabi khwaabon ke udte hue saayon ke tale
Naksh chehre ke, pighalti hui mom ki maanind
Har naye khwaab ki dhun sunke badal jaate hain
Aisa lagta hai na soyega, na jaagega, na bolega kabhi
Shaam ke kohre me bahta hua khamosh nadi ka chehra.
He won a number of awards throughout his career, including eleven Filmfare Awards, two National Film Awards, and the International Prize of the Cannes Film Festival. Madhumati won 9 Filmfare Awards in 1958, a record held for 37 years.
Bimal Roy was born on July 12, 1909, in Sutrapur, Dhaka, which is now part of Bangladesh. After the demise of his father, his family was ousted from their ancestral land, propelling young Bimal into a life of struggle. His foray into cinema began modestly as a publicity photographer, but his talent soon led him to become an assistant cameraman at New Theatres Pvt. Ltd. in Calcutta.
During his phase as an independent cinematographer, he worked with the legendary Pramathesh C. Barua, in acclaimed movies like “Devdas” in 1935 and “Mukti” in 1937. Roy also contributed to notable documentary projects such as “How Kerosene Tins Are Made” and “Grand Trunk Road.”
In 1950, Roy was invited to Bombay, where he was given a one-film contract by Bombay Talkies to direct “Maa (1952),” starring Bharat Bhushan and Shyama, where his unique under-played yet moving style of film-making made it an instant success.
He had put together a team of technicians for this film, which included scriptwriter Nabendu Ghosh, assistant directors Asit Sen and Nasir Hussein, editor Hrishikesh Mukherjee, and music director Salil Chowdhury.
In 1953, he directed “Parineeta,” starring Meena Kumari and Ashok Kumar, and based on Sarat Chandra Chattopadhyay’s novel, which became one of Roy’s masterpieces. The film’s nuanced portrayal of love and societal norms speaks volumes about Roy’s ability to handle complex emotions with grace and sensitivity. Its success led to the establishment of Roy’s own production unit, Bimal Roy Productions, which now makes him an independent filmmaker.
Inspired by Italian neo-realistic cinema, he made “Do Bigha Zamin (1953).” on Rabindranath Tagore’s poem of the same name after watching Vittorio De Sica’s “Bicycle Thieves (1948),” It was a landmark film and, till date, remains a touchstone in Indian cinema. It was perhaps the first film to successfully straddle art and commercial cinema and became a commercial and critical success, winning the International Prize at the 1954 Cannes Film Festival.
Success is how high you bounce when you hit bottom
Kamini Kaushal and Abhi Bhattacharya starrer “Biraj Bahu” (1954), adapted from a Bengali novel, is a poignant tale of a woman’s sacrifices and the societal pressures she endures. Roy’s direction brings out the subtleties of the narrative, showcasing his skill in creating powerful female characters.
In 1955, he directed “Devdas,” based on the Sarat Chandra Chattopadhyay novel of the same name. Starring Dilip Kumar, Suchitra Sen and Vyjayanthimala, Devdas was a big critical and commercial success, often considered as the finest movie adaptation of a novel. Bimal Roy handling of the tragic love story, that delves into the themes of unrequited love, societal expectations, and personal downfall, was never became over the top or unrealistic. The emotional depth with which Roy depicted the characters’ journeys made the film a classic.
He collaborated with Ritwik Ghatak (who wrote the screenplay) for Madhumati, and repeated the Dilip Kumar – Vyjayanthimala pair in a reincarnation drama, which gave boost to the genre. The film that blends elements of fantasy, romance, and mystery, won 9 Filmfare Awards, holding the record for 37 years. The film’s innovative narrative structure and haunting music score are reflective of Roy’s artistic versatility.
“Sujata (1959)” is a socially conscious film that tackles the issue of caste discrimination. Roy’s sensitive portrayal of the protagonist’s journey is a powerful commentary on social hierarchies and personal identity.
His other films are Yahudi (1958) with Dilip Kumar & Meena Kumari, Parakh (1960) with very young Sadhna, Prem Patra (1962) with Shashi Kappor and Sadhna, and “Bandini” (1963), which is a story of a woman imprisoned for murder, explores themes of love, guilt, and redemption. His films earned him eleven Filmfare Awards, two National Film Awards, and the International Prize at the Cannes Film Festival.
He also produced films like Amanat (1955), Parivar (1956), Apradhi Kaun (1957), Usne Kaha Tha (1960), Kabuliwala (1960), and Benazir (1961).
His films often featured romantic-realist melodramas, where he explored social issues without compromising on the entertainment value. This balance made his films relatable and impactful, as they mirrored the lives and aspirations of his audience.
One of Roy’s favorite themes was the exploration of social reforms and morality. He was not one to shy away from the harsh realities of life, choosing instead to confront them head-on in his films. His works often addressed issues of economic inequality and social oppression.
Another recurring theme in Roy’s films is the critique of social structures and the caste system. In ‘Sujata,’ he tackles the issue of caste discrimination, telling the story of an untouchable girl raised in an upper-caste household. The film is a powerful commentary on the rigid social hierarchy and the struggle for identity and acceptance.
Roy also had a penchant for exploring the resilience of women in the face of societal challenges. His films often featured strong female protagonists who navigate the complexities of life with grace and fortitude.
Another aspect of Roy’s technique was his visual aesthetic. He started his career as a camera assistant and later as a cameraman, which gave him a strong foundation in the visual aspects of filmmaking. His films are known for their precise camera work, which added a distinctive quality to the narrative. For instance, in “Sujata,” Roy used staging in depth and graphic matches to critique social issues like untouchability, integrating culturally specific ideas with universal visual techniques.
Bimal Roy was married to Manobina Roy and had four children including Rinki Bhattacharya, and Joy Bimal Roy. His daughter, Rinki Bhattacharya married director Basu Bhattacharya, despite the opposition from Bimal Da.
Bimal Roy’s death on January 7, 1966, due to cancer, left a void in the Indian film industry. His legacy, however, endures through his films, which continue to inspire filmmakers and audiences alike.
