Kadambori trailer

thanks to Utkal..


18 Responses to “Kadambori trailer”

  1. Interested in the film though I continue to be annoyed with this phenomenon of spanking clean period pieces! Everything looks so fresh and new. But the larger issue here is the actor who’s playing Tagore. Wholly inadequate in a physical sense. Tagore was Bachchanesque in terms of his height, could have been taller, not sure. But he was also considered exceedingly handsome and with a very imposing personality. There are accounts of contemporary writers who find it impossible not to be affected by his magnetism in this sense. Admittedly it’s not easy to find an actor to fit that bill but this guy seems rather insubstantial.


  2. Her relationship with Rabindranath Tagore remains the recurrent topic of discussion for generations. And even for Konkona Sen Sharma, a powerhouse of talent, getting under the skin of Kadambari Devi wasn’t easy.

    Says Konkona, who plays the lead in Suman Ghosh’s Kadambari, “Suman helped me read books to understand the unique relationship between Kadambari Devi and Rabindranath. I also had long discussions with maa (Aparna Sen).”

    Dubbing Kadambari Devi’s death (she committed suicide just four months after Tagore’s marriage) as the most talked-about personal tragedy in the Bengali psyche, Suman says, “I was not scared to deal with such a sensitive subject. What I felt instead was a huge sense of responsibility. For the first time in the history of Bengali cinema, this subject has been adapted for screen.A lot about this incident has so far remained under the carpet, and I thought the carpet needs to be lifted.”

    Suman adds that Rabindranath and Kadambari became friends soon after she entered the Tagore household as the nine-year-old bride of Jyotirindranath. As a child, Rabindranath was lonely and so was Kadambari and they bonded in no time. After the death of Tagore’s mother, the friendship turned into motherly affection. Soon, his beloved sister-in-law became his muse.The next step was a romantic relationship. “Such was the depth of Kadambari’s influence on Rabindranath that at the age of 70, he confessed to Nandalal Bose that many of his paintings of a woman’s face were drawn keeping Kadambari Devi in mind,” says the director.

    Whether there was a physical relationship between Tagore and Kadambari Devi too has been sensibly dealt with by Suman. The director can’t stop waxing eloquent about both Konkona and Parambrata Chatterjee, who plays Rabindranath. “Konkona is known for her range as an actress and Param is a rare actor who can carry the intellectual flamboyance of a young Tagore,” he adds.



  3. The production budget for Bengali film like this is very small, say 1 cr. Considering that, the production values are not bad. And I think Parambrata is quite fine as the young Rabindranath. The Bengali audience will take to him nicely.


    • If Roopali Ganguly was younger, she also would have suited Kadambori’s role well.


      • this is a subject Ray might have tackled.. though I suppose he did Charulata which is based on a Tagore work which in turn seems to bear the Kadambori inspiration.


        • and he also took it up again to some extent in Home and the World. On that note Ray is easily (to my mind at least) the greatest master of adaptation in cinematic history. Every work of his has an important literary source and in almost every case he makes it his own. In some cases the fame of his films even eclipses that of the original works which is hardly an easy thing to achieve. Having said that I’m not a great fan of Home and the World. Once Ray starts making films in color his camerawork is never as dazzling. Admittedly he was also getting older and he wasn’t making his ‘greatest’ films in this phase anyway. But still there are some strong works that would have benefited greatly from his more auteurist instincts elsewhere. To end this.. I like his final film Agantuk a lot.


      • sanjana Says:

        Roopa Ganguly who played Draupadi.


    • the production values are fine. I meant to say that period piece representations tend to be a bit too pristine.


  4. Yeah…Ray is done with this with ‘ Charulata’. And yes, he is certainly the greatest adapter. The beautyb is, he adapts fairly faithfully, and yet mkaes the work his own. And the sheer range of authors he has adapted is mindboggling : from Tagore, Bibhutibhushan, Premchand and Sharadindu to Parsuram, Shankar, Sunil Gangopadhyay…not to speak of his own works. His colour-era works are defintely inferior to his black and white era works. Shakha Prosakha and Ganashatru are his weakest films. The rest of the colour films are okay. GHare Baire has hsi moments. Though someone like Konkona today would have been better as Bimla than Swatilekha.


  5. oldgold Says:

    Just a small irrelevant information (I hope it’s correct) I read somewhere, that Rabindranath Tagore’s sister in law was the one who invented the modern drape of the sari


  6. Why did you select Konkona Sen Sharma for the role of Kadambari Devi?

    When I was writing the screenplay of the film, I realised that the character has a huge variation of emotions. So I needed an actress who is not only good but also has done a variety of roles. Konkona’s body of work is amazing. From Mr and Mr Iyer, Omkara to Wake Up Sid, I think she is a rare actress in the national arena who has such variations.

    How did you go about casting Parambrata Chatterjee in the role of Rabindranath Tagore?

    I knew that casting for the character of Tagore would be the most talked about. But what I needed to capture was the spirit of Rabindranath, which Parambrata captures extremely well. He is a person who is equally adept in English and Bengali culture. He has knowledge about eastern and western literature and I needed this confluence for Tagore’s character. I needed intellectual flamboyance for Tagore’s character and Parambrata suited the part.



  7. “: Konkona, the women of Thakurbari have always had an element of mystery about them. What did you find most fascinating?

    Konkona: They were a very progressive and liberal family. Gyanodanandini (Satyendranath Tagore’s wife) was a woman of significant importance in those times. Swarnakumari (Tagore’s elder sister) was also writing. Kadambari did not fit into the Thakurbari household entirely. Her father was not of the same class, socially his status was lower. She couldn’t have children and people would at that time blame the woman for it. She adopted Swarnakumari’s daughter, who also died. And the fact that she was friendly with her brother-in-law (Rabindranath) didn’t endear her to the rest of the household. This kind of harsh judgement from the women in Thakurbari was in stark contrast to the liberal stance they had. Also, the fact that they tried to hush up Kadambari’s suicide. There was a clash in that and that struck me.

    t2: Kadambari is based on Rabindranath’s relationship with Kadambari. There might be criticism. How do you plan to handle it?

    Suman: When I met Mani Ratnam in Goa, he told me his first few films were so bad that people had almost written him off… but then there comes a time when you should make yourself immune to praise and not get overly excited, so when you’re criticised you won’t get that affected. That was a learning.

    Konkona: I agree. I don’t take either of these seriously. I find myself my harshest critic. My standards are so high for myself that I know exactly where it’s worked and where it didn’t. When somebody is criticising, it’s usually something I’ve already thought about before. And if more than one person is telling you, it’s something worth thinking abou



  8. Tagore punished himself for Kadambari’s death’
    Do you think there is a duality here in Kadambari’s role? First filling up for an absent mother and then being his muse?

    First of all, in his autobiography, Kadambari comes across as someone much older than Tagore when in actuality she was only two years older. She starts being his muse when he was 16. The duality in the relationship is when Tagore feels he is the intruder in the Jyotindranath-Kadambari relationship. Although he is closer to her than she was to him. That’s where the “Butter toast memory” comes in, where Tagore feels Jyotindranath has a complete life with his wife, whereas he is the intruder.

    Did Tagore never take responsibility for Kadambari’s death?

    In Nashtanir, he does not take responsibility. Consciously no. However, he doesn’t absolve himself of the guilt. After Kadambari’s death, he goes mad, he undergoes a breakdown, he doesn’t wear chappals, he doesn’t wear clothes, he sleeps on the terrace. He punishes himself, it’s a guilt, not acknowledged but punished.

    How did Tagore handle his clinical depression?

    Tagore himself is very clear that he suffers from depression. His subconscious is depleted. That means depletion of all the love that is there, love of mother, Kadambari, father. That is all out. Now how does one fill up and feel loved again? His cure is of course solitude, his remembered happiness, remembrance of the garden, the terrace, his loved relationships



  9. Last one 🙂

    Three women
    – Three women director Isheeta Ganguly explores what women want

    my questions had to do with trying to unpeel Ray’s motivation for creating women characters like Charulata and Bimala who had finally tapped into this notion of “I want…” through these men yet became hapless the minute they abandoned them.

    After their respective states of bliss and nation-building (in Bimala’s case), both women ended up lost with dreams that quickly became delusions. What was Ray suggesting about these women who crumbled when their muses left?

    Once I felt we might have built a rapport, I mustered the voice to ask, “So, what were you ultimately suggesting about the feministic journeys of Charu and Bimala in your films? I mean, here they were starting to realise their dreams through their love for Amal and Sandeep… then it all falls flat the minute they leave!” He paused for what felt like a whole minute and looked me straight in the eye and said with a warmth, “Well… my films are but mere adaptations of Tagore’s novels.”
    That was the aha moment. I realised there wasn’t really an easy answer to that question. Nashtanir and Ghare Baire were novellas of their milieu with stories that revealed parts of Tagore’s own life to the extent that he was comfortable sharing. Both novels were a melange of his personal experiences and social projections of what he thought women quietly aspired for.


  10. The film begins with the end—Kadambari Devi’s suicide. And then goes back to the beginning—when she first stepped into the Tagore household in Calcutta’s Jorasanko as the child bride of Rabindranath Tagore’s elder brother Jyotirindranath. And then embarks on the diff­icult journey of trying to recreate one of the most enigmatic real-life love stories—the relationship between the poet as a young man and his sister-in-law, the muse of much of his works.

    Unfortunately, the pressure of per­­forming this difficult task shows through and the love story at the core gets submerged under the weight of period costumes, props, dialogues and the actors’ own obvious self-consciousness that they are portraying some larger-than-life characters whose lives have not just been the subject of endless speculation but have inspired literature, art and cinema. What Konkona and Parambrata should perhaps have done is distance themselves from all the baggage and connect with their characters emotiona­lly—and feel the bottled-up desires, the choked tears and the swallowed pain of an impossible love. But that didn’t happen and the result is total lack of chemistry between the two. They seem to simply go through the motions, deliver their dialogues, enact and emote predictably. Pity, because when it comes to the Kadambari-Rabindranath narrative, it’s not the details so much but the rendering which makes the difference.



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