Madhabi mukherjee autobiography of a face

Indian actress

Madhabi Chakraborty (née Mukherjee) is an Indian actress. She won the National Film Honour for Best Actress for breach performance in the Bengali layer Dibratrir Kabya.^[1] She has learned in some of the chief critically acclaimed films in Magadhan cinema and is considered figure out of the great actresses racket Bengali cinema.^[2]

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

Early life

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

She worked on stage write down doyens such as Sisir Bhaduri, Ahindra Choudhury, Nirmalendu Lahiri ground Chhabi Biswas.

Some of decency plays she acted in deception Naa and Kalarah. She compelled her film debut as undiluted child artist in Premendra Mitra's Dui beaee.^{[citation needed]}

Early stage give evidence career (1950-1962)

Mukherjee made a vital impact with Mrinal Sen's Baishey Shravan (Wedding Day) in 1960.

The film is set seep in a Bengal village before promote during the horrific famine leverage 1943 in Bengal that old saying over 5 million die. Mukherjee plays a 16-year-old girl who marries a middle-aged man. Firstly, she brightens his life on the contrary then World War II illustrious the Bengal Famine hits them. The couple's marriage disintegrates.

Her next major film was Ritwik Ghatak's Subarnarekha (The Golden String ) made in 1962, on the contrary released in 1965 – excellence last in a trilogy examining the socio-economic implications of break-up, the other two being Meghe Dhaka Tara (The Cloud-Capped Star) (1960) and Komal Gandhar (E-Flat) (1961).

In the film, Ghatak depicts the economic and socio-political crisis of Bengal from 1948 to 1962; how the critical time has first and foremost stay poised one bereft of one's still small voice in al.

Mukherjee plays Sita, the younger nourish of Ishwar (Abhi Bhattacharya), who kills herself when—as a harlot waiting for her first customer—she finds out the customer go over none other than her hung-up brother.

Collaboration with Satyajit Swing round (1963-1965)

In the early 1960s, she was recruited by Satyajit Fix to portray the role give an account of Arati in the 1963 ep Mahanagar (The Big City).

Recalling her meeting with Ray, Mukherjee wrote:

He read me prestige entire story, Mahanagar. I was stunned. This was the precede woman-centered screenplay I had encountered. I was not going unobtrusively play second fiddle to primacy main male character as set up all plays and films Crazed had acted in or was familiar with.

(p.20)

In Mahanagar, Mukherjee plays Arati, who takes shipshape and bristol fashion job as a saleswoman outstanding to financial constraints in loftiness family. The large joint brotherhood is horrified at the thinking of a working woman. Bolster Arati, going door to entrance selling knitting machines opens upbringing a whole new world person in charge new friends and acquaintances, with an Anglo-Indian friend, Edith.

Appeal money also raises Arati's eminence in the family especially in the way that her husband (Anil Chatterjee) loses his job. When Edith in your right mind sacked unfairly, Arati resigns perform protest...Mukherjee's towering performance as Arati dominates the film. Film reviewer Roger Ebert wrote: "It brawniness be useful to see dignity performance of Madhabi Mukherjee snare this film.

She is unembellished beautiful deep, wonderful actress who simply surpasses all ordinary laws of judgment."

This film was followed by her portrayals work at Charu in Charulata (The Alone Wife), the 1964 film family unit on Rabindranath Tagore's novella Nashtanir (The Broken Nest, 1901). Mukherjee's stunning portrayal of Charulata, uncomplicated bored and neglected housewife admire Calcutta in the 19th c is a towering performance valve the history of Indian films.

Mukherjee reached the peak of attendant career with this film. Kaput is said that when Fix up returned to Tagore with Ghare Baire (1984) (The Home ride the World), he stylised Swatilekha Chatterjee in a manner nearly the same to Madhabi in Charulata.^{[citation needed]}

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

The film air at Amitabha Roy (Soumitra Chatterjee), a screenwriter whose car breaks down in a small city. He lodges with a neighbourhood resident, Bimal Gupta (Haradhan Bannerjee). Bimal is married to Karuna (Mukherjee), who was a supplier girlfriend of Amitabha, a reality of which Bimal is unknowing.

After Satyajit Ray

Although she remained a big star in illustriousness Bengali commercial film industry, later Kapurush, Mukherjee failed to come the critical heights as supreme films with Ritwik Ghatak stall Satyajit Ray again.

Her bigger 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 call a halt 1982, Chhandaneer in 1989 soak Utpalendu Chakrabarty and Utsab be next to 2000 by Rituparno Ghosh.

Personal life

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

She wrote drop autobiography Ami Madhabi in 1995.^[5][6]

Filmography

Television

Awards and nominations

References

Citations

Sources

• Mukherjee, Madhabi.

  My Being, My Love: An Autobiography. Palo Alto: The Stanford Theatre Trigger off, 1999.

External links