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Shankar, however, is not one to be tamed by a city job. Thus, Bibhuti Bhushan’s understated prose gently skirts the impoverishment and colonial tyranny of the time, focusing rather on the surface, the happy advent of a job for Shankar in a jute mill in Kolkata. In locating the narrative back into a relatively less grisly time in history, Bibhuti Bhusan can credibly beckon his readers’ attention to the inner turmoils of Shankar rather than those surrounding him in society and politics. The World War 1 was a decade away and the soil of Bengal was yet to be stricken with the famished dead bodies of people starving owing to Britain’s expensive wars. Politics had not yet descended into intrigue. The time of the fictional narrative is significant-Bengal was divided into east and west along communal lines, the economy was broken because most of Bengal’s jute produce came from the east and the factories processed them in the west, businesses were failing, jobs were dwindling and inertia was being replaced by a robust anti-British sentiment in Bengal. Shankar, the protagonist, lives in rural Bengal at a time when India was still under British occupation. Published in 1937 and capturing a fictionalised narrative in the pre World War 1 era, the novel is an interesting take on the classic Bildungsroman. I had grown up reading and internalising the novel of the same name by the Bengali author Bibhuti Bhushan Bandopadhyay. When I watched Chander Pahar on celluloid, that’s exactly what happened to me.
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What happens when you see a childhood myth rendered into celluloid? Even as you encounter the unfolding visuals, straggling between memory and the living moment, your mind creates a hyperreality in which one flows into the other, creating a montage of images melting into each other, welding the vivid imagination of a ten-year-old with the rust and sepia of experience.