Bengali cinema on a new high
Class cinema is drawing the masses, while mainstream is going classy. It’s time to toast Tollywood or is it? Ratnottama Sengupta goes behind the scene.
“Bengali cinema got a new direction in 2010,” says Gaurav Pandey. “It moved from content-oriented to form-oriented narrative.”
Not only the story but also the stylish way in which it unfolds now matters. Citing the success of Shukno Lanka’, Autograph’, Moner Manush’ and Arekti Premer Galpo’, he says, “The audience has now come to a point where layered films are accepted.”
However, not all of these are considered as blessings, particularly by mainstream filmmakers like Haranath, who along with Prosenjit can take a bow for bringing audiences back to the theatre in the lean 1990s. “The marketing budget has skyrocketed. Some of these successes have spent close to a crore on publicity. How many producers in Tollygunge can afford such amounts?” he asks.