Basu Bhattacharya was the luminary of Indian parallel cinema, a product of the Bimal Roy school of filmmaking. Bhattacharya made history with “Teesri Kasam” before going on to become the quintessential explorer of marital relationships in films like “Anubhav (1971),” “Avishkaar (1973),” “Griha Pravesh (1979),” and “Aastha (1997).”
Early Life and Career
Basu Bhattacharya emerged as a significant figure in the landscape of Indian cinema. He was born in 1934 in Cossimbazar, a small town in Berhampore, Murshidabad, West Bengal. His journey in the film industry began under the tutelage of the legendary Bimal Roy, assisting in classics like “Madhumati (1958)” and “Sujata (1959).”
Bhattacharya’s directorial debut came with Shailendra’s “Teesri Kasam” in 1966, a film that won the National Film Award for Best Feature Film. The film, starring Raj Kapoor and Waheeda Rehman, is based on the short story “Maare Gaye Gulfam” by Phanishwar Nath ‘Renu’. It tells the tale of a naive bullock cart driver and a nautanki dancer, exploring human relationships, cultural clashes, class differences, and unrealized love in a rural setting.
Despite being a masterpiece, the film didn’t get the desired result and bombed at the box office. In later years, film was appreciated for its sheer artistic value, story, performances, and music, becoming a classic. The same year, he wrote and directed “Uski Kahani,” starring Anju Mahendru, Tarun Ghosh, and Dina Pathak.
Basu Bhattacharya’s “Marital Trilogy”
The next film in Bhattacharya’s oeuvre is Anubhav (1971), which bagged the National Film Award for Second Best Feature Film. Starring Sanjeev Kumar and Tanuja, it explores the revival of romance in a stale marriage. It marks the beginning of what would be known as Bhattacharya’s “Marital Trilogy.” The film is a milestone in the middle of the road cinema. It is also known for its beautiful music by Kanu Roy. The film has songs like “Meri Jaan Mujhe Jaan Na Kaho,” “Koi Chupke Se Aake,” and “Mera Dil Jo Mera Hota.” Written by Gulzar, these were the last songs sung by Geeta Dutt and are now considered classics.
The next film in the trilogy was Avishkaar (1973), starring Rajesh Khanna and Sharmila Tagore. The film received widespread critical acclaim. It is one one of most nuanced exploration of a couple’s relationship as they navigate the monotony of married life. Rajesh Khanna earned the Filmfare Best Actor Award for his powerful performance.
The third film of the trilogy was Griha Pravesh (1979), a narrative on the complexities of an extramarital affair starring Sanjeev Kumar, Sharmila Tagore, and Sarika. Basu Bhattacharya’s films offer a window into the soul of Indian cinema, reflecting the societal nuances of the times and the evergreen complexities of human emotion.
Later Work
His body of work is often celebrated for its introspective nature and the portrayal of complex human relationships. Other films he directed are Daku (1975), Tumhara Kalloo (1975), Sangat (1976), Madhu Malti (1978), Anveshan (1985) (TV), Panchavati (1986), Ek Saas Zindagi (1991), and Kabhi Dhoop Kabhi Chhaon (1992).
In 1977, he directed “Anand Mahal,” starring Vijay Arora, Sarika, and Manik Dutt, but he decided not to release it as he was not happy with the final product. In 1984, he directed the Czech production “Horký podzim s vuní manga,” starring Jana Sulcová, Harindranath Chattopadhyay, Eduard Cupák, and Amrit Pal.
His last film was Aastha: In the Prison of Spring (1997), which dealt with the subject of a woman’s choice between her domestic duties and personal aspirations. The film, starring Rekha, Om Puri, Navin Nischol, and Daisy Irani, tells the story of a middle-class woman (Rekha) who goes into a sexual relationship in exchange for money to fulfil her material needs. The controversial film, criticised by some sections of society as too sexual and morally wrong, was a critical and commercial success.
His Craft and Style
Bhattacharya emphasized realistic storytelling over commercial gloss. He used minimalistic sets and natural lighting to reflect middle-class life. His direction favored long takes and subtle performances, avoiding melodrama. The use of sound, like clock ticks in Anubhav, added depth. His pacing was deliberate, focusing on character development over action. This approach aligned with parallel cinema’s ethos, though it limited box office appeal.
Bhattacharya’s films centered on marital relationships and urban struggles. His trilogy—Anubhav, Avishkaar, and Griha Pravesh—examined the erosion of love and communication in marriage. Aastha tackled materialism and moral decay, depicting a housewife’s descent into prostitution. His works often critiqued societal norms, focusing on personal and ethical dilemmas.
Bhattacharya had a long working relationship with Kanu Roy who composed music for his trilogy. Kanu Roy was himself a minimalist person who adds a consistent auditory identity. Sai Paranjpye directed Sparsh under his production, starring Naseeruddin Shah and Shabana Azmi. He also worked with Gulzar and Sagar Sarhadi contributed to dialogues and lyrics, enhancing his stories.
Personal Life
Bhattacharya served as the president of the Indian Film Directors’ Association from 1976 to 1979 and was a jury member at the 12th Moscow International Film Festival in 1981. Despite a career that saw highs and lows, his contributions to what is known as parallel cinema remain invaluable.
Bhattacharya married Rinki Bhattacharya, daughter of Bimal Roy; their union initially caused a rift with his mentor. The couple had three children, including Aditya Bhattacharya, who followed in his father’s footsteps as a director.
Basu Bhattacharya and Rinki ‘s marriage faced challenges, and after enduring domestic abuse, Rinki moved out in 1983. The couple eventually divorced in 1990. Rinki Bhattacharya went on to become a successful writer, columnist, and documentary filmmaker, and edited an anthology on domestic violence in India titled “Behind Closed Doors – Domestic Violence in India”.
Basu Bhattacharya passed away on June 19, 1997.
Basu Bhattacharya on IMDB
