Tribute to The Iconic Movie Director – Bimal Roy!
It is a glad moment to recollect one of our most remarkable movie director, Bimal Roy, whose 110th birth commemoration falls today (conceived: 12 July 1909).
Bimal Roy began his profession as an associate cameraman at the renowned New Theaters, Calcutta. His fine feeling of lighting and piece won him a few honours. His first Hindi film ‘Do Bigha Zamin’ in 1952-53, which expressively depicted the desolation of the dislodged proletariat, had a solid all-inclusive effect for its others conscious depiction. In a splendid realistic language, the film recounted to the basic and awful story of a rancher battling to spare his property from an eager landowner.
Considered as a milestone film and one of the 10 best Indian movies ever, the film had the uncommon differentiation of being one of the primary Indian movies to win grants/shrubs in such a significant number of nations: China, UK, Karlovi Vary, Cannes, USSR, Venice, and Melbourne. He was the main executive to have the qualification of accepting 11 Filmfare grants for Best Direction or Best Film, beginning with Do Bigha Zamin in 1953.
His different movies: Parineeta, Biraj Bahu, Madhmati, Devdas, Bandini, Sujata, and so on were unmatched in investigating sensitivities of the human association with its perplexing subtleties. Bimal Roy deified the amazing author Sarat Chandra by putting together a few of his movies with respect to the last’s works of art like ‘Parineeta’, ‘Devdas’, ‘Sujata, and so forth’ which found incredible articulation in his movies. In light of the subject of resurrection, his ethereally excellent film ‘Madhumati’ had murmuring and entrancing music. His movies featured dynamic reasoning, tested severe misuse and indicated the natural quality of ladies. Bimal Roy had a one of a kind feeling of exceptional music, practical and delicate depiction of social clashes, narrating strategy and introducing similar characters.
He splendidly kept up the inalienable power of the tale of ‘Devdas’ whose practical depiction was significantly contacting and shocking. His delineation of Devdas’ continuously sliding wellbeing condition – when he was on a self-destructive way by devouring increasingly more alcohol – by indicating the driver of rail motor tossing coal into the heater which had the impact of further touching off or feeding the fire was imminent. The discourse Dilip Kumar talked, in the job of Devdas, “Kaun kambhakhat jeene ke liye Peeta hai… … ” turned into a piece of India’s old stories.
Bimal Roy had a huge feeling of the music. His unparalleled depiction of circumstances deeply affected the human mind which left a permanent impression. He utilized the voice of Asha Bhosle befittingly in film Bandini. Asha has a staggering voice and has no parallel in rendering ‘pitiful and solemn tunes’. The heroin (entertainer Nutan) sings the tune “Abdominal muscle ke Baras bhejo bhaia ko babul… … .”. I should state that the tune terrifically affected me despite everything it frequents me at whatever point in my pondering minutes, I happen to think back and picture the scene; my eyes even today get clammy.
A ‘Quiet Master’ and a pioneer, Bimal Roy introduced the brilliant time of Indian Cinema in the mid-50s. A socially dedicated chief, his movies had the ability to rouse and move crowds. In the event that ‘Do Bigha Zameen’ was a persuasive representation of dislodged labourers, “Sujata’ (which portrayed a vagrant and distant young lady) took up the consistently copying issue of the rank battle. The ladies in his movies assumed ground-breaking and characterizing jobs. His intentional movies had an extraordinary message for society.
The maestro Bimal Roy turned into a name synonymous with incredible film create in India and abroad. He turned into a legend in his lifetime. Set apart with delicate humanism and progressiveness, Bimal Roy’s movies tremendously affected the new wave and parallel film during the 50s and 60s. His unrivalled movies which were stunning and won the pundits’ praise, as well as the deference of the majority, turned into the harbinger of the purported parallel film in India.
He was, as it were, a finished school of film making and gave Indian Cinema many recognized movie producers, authors, lyricists and music arrangers, for example, Hrishikesh Mukherjee, Gulzar, Salil Chaudhary and Basu Bhattacharya, and the sky is the limit from there. He is credited with presenting the virtuoso writer Salil Chowdhury to Hindi Cinema with Do Bigha Zamin and used his aptitudes in a few different movies. His commendable follower and successor Hrishikesh Mukherjee proceeded with his heritage in the genuine soul. Not many individuals realize that ‘Do Bigha’ depended on a story ‘Rikshawala’ composed by Bimal Roy himself, thinking back to the 40s. Film ‘Parakh’ was likewise founded on his story. He was a flexible essayist.
Bimal Da, as he was famously called, was a calm, modest and unassuming individual. An uncelebrated yet truly great individual, he never boasted or flaunted his accomplishments. He thought about the movies and consistently pursued his sense. A man of not many words, his persona was constantly an image of quietude and unobtrusiveness. Without making any commotion, he continued functioning as a karma yogi on his innovative undertakings in a steady progression and offered movies to society that was unadulterated and solid excitement – watchable by the whole family. Such individuals are conceived once in a century.
To India’s extraordinary setback, the film maestro Bimal Da, the doyen of Indian Cinema, died at the prime age of 55, deserting an unparalleled and unmatched true to life inheritance that is India’s glad National legacy. Significantly more was to originate from his stable. The remorseless and unfavourable demise grabbed away a splendid movie producer and executive rashly. In his demise, India lost a splendid producer, executive and an incredible individual. The general public and the Government must plan something for propagating the memory of this extraordinary child of India.