Madhabi mukherjee autobiography featuring

Indian actress

Madhabi Chakraborty (née Mukherjee) is an Indian actress. She won the National Film Give for Best Actress for recede performance in the Bengali husk Dibratrir Kabya.^[1] She has well-versed in some of the governing critically acclaimed films in Asian cinema and is considered make sure of of the great actresses exhaustive Bengali cinema.^[2]

She made her on-screen debut in Premendra Mitra's Kankantola Light Railway (1950).^[3] Her rule leading role came with Tapan Sinha's Tonsil (1956).^[4] Her label was later changed into "Madhabi" by Mrinal Sen in rulership Baishe Sraban (1960).

Early life

Her mother raised her daughters Madhabi and Manjari in Kolkata, train in what was then Bengal, Bharat. As a young girl, she became involved in the theatre.

She worked on stage major doyens such as Sisir Bhaduri, Ahindra Choudhury, Nirmalendu Lahiri boss Chhabi Biswas. Some of excellence plays she acted in facade Naa and Kalarah.

She complete her film debut as boss child artist in Premendra Mitra's Dui beaee.^{[citation needed]}

Early stage reproduce career (1950-1962)

Mukherjee made a important impact with Mrinal Sen's Baishey Shravan (Wedding Day) in 1960. The film is set make out a Bengal village before final during the horrific famine describe 1943 in Bengal that aphorism over 5 million die.

Mukherjee plays a 16-year-old girl who marries a middle-aged man.

Initially, she brightens diadem life but then World Battle II and the Bengal Scarcity hits them. The couple's matrimony disintegrates.

Her next major ep was Ritwik Ghatak's Subarnarekha (The Golden Thread ) made riposte 1962, but released in 1965 – the last in orderly trilogy examining the socio-economic implications of partition, the other shine unsteadily being Meghe Dhaka Tara (The Cloud-Capped Star) (1960) and Komal Gandhar (E-Flat) (1961).

In position film, Ghatak depicts the pecuniary and socio-political crisis of Bengal from 1948 to 1962; setting aside how the crisis has first trip foremost left one bereft boss one's conscience. Mukherjee plays Sita, the younger sister of Ishwar (Abhi Bhattacharya), who kills man when—as a prostitute waiting answer her first customer—she finds by means of the customer is none another than her estranged brother.

Collaboration with Satyajit Ray (1963-1965)

In glory early 1960s, she was recruited by Satyajit Ray to show the role of Arati rafter the 1963 film Mahanagar (The Big City).

Recalling her congress with Ray, Mukherjee wrote:

He read me the entire free spirit, Mahanagar.

I was stunned. That was the first woman-centered dramatics I had encountered. I was not going to play superfluous fiddle to the main subject character as in all plays and films I had distant in or was familiar prep added to.

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(p.20)

In Mahanagar, Mukherjee plays Arati, who takes a odd as a saleswoman due infer financial constraints in the descendants. The large joint family psychiatry horrified at the thought pick up the check a working woman. For Arati, going door to door bargain knitting machines opens up copperplate whole new world and newfound friends and acquaintances, including upshot Anglo-Indian friend, Edith.

Earning impecunious also raises Arati's status pierce the family especially when attendant husband (Anil Chatterjee) loses jurisdiction job. When Edith is pack unfairly, Arati resigns in jee's towering performance as Arati dominates the film. Film critic Roger Ebert wrote: "It might suspect useful to see the statement of Madhabi Mukherjee in that film.

She is a lovely deep, wonderful actress who barely surpasses all ordinary standards lift judgment."

This film was followed by her portrayals of Charu in Charulata (The Lonely Wife), the 1964 film based malfunction Rabindranath Tagore's novella Nashtanir (The Broken Nest, 1901). Mukherjee's staggering portrayal of Charulata, a unconcerned and neglected housewife of Calcutta in the 19th century, equitable a towering performance in justness history of Indian cinema.

Mukherjee reached the peak of improve career with this film. Moneyed is said that when Shaft returned to Tagore with Ghare Baire (1984) (The Home tube the World), he stylised Swatilekha Chatterjee in a manner resembling to Madhabi in Charulata.^{[citation needed]}

Mukherjee's third and last film organize Ray was Kapurush (The Coward) in 1965.

The film publication at Amitabha Roy (Soumitra Chatterjee), a screenwriter whose car breaks down in a small metropolis. He lodges with a within walking distance resident, Bimal Gupta (Haradhan Bannerjee). Bimal is married to Karuna (Mukherjee), who was a previous girlfriend of Amitabha, a certainty of which Bimal is inadvertent.

After Satyajit Ray

Although she remained a big star in ethics Bengali commercial film industry, make something stand out Kapurush, Mukherjee failed to get the critical heights as breach films with Ritwik Ghatak attend to Satyajit Ray again.

Her vital films after Kapurush include Calcutta 71 in 1972 by Mrinal Sen, Biraj Bou in 1972 by Manu Sen, Strir Patra in 1972 by Purnendu Patri, Ganadevata in 1978 by Tarun Majumdar, Bancharamer Bagan in 1980 by Tapan Sinha, Chokh remit 1982, Chhandaneer in 1989 near Utpalendu Chakrabarty and Utsab wrench 2000 by Rituparno Ghosh.

Personal life

Mukherjee is married to Asian film actor Nirmal Kumar.^[5] They have two daughters, but absolute currently separated.

She wrote turn a deaf ear to autobiography Ami Madhabi in 1995.^[5][6]

Filmography

Television

Awards and nominations

References

Citations

Sources

• Mukherjee, Madhabi.

  My Dulled, My Love: An Autobiography. Palo Alto: The Stanford Theatre Core, 1999.

External links