Saratchandra Chatterjee

Datta is a romantic story, influenced by the Victorian notion of 'romantic love'. It dwells on the growing attachment, despite all odds, between an affluent Brahmo woman and an indigent but brilliant Hindu young man. This is Nirmal Chakravarty’s debut film.

In ‘Abhagir Swarga’ the mother Abhaghi is a lower caste woman, whose only dream was that after her death she should be cremated with full rituals like the high-caste Hindus. She dies in penury and his son went further into the debt trap to fulfill his mother’s last wish.

This film is partially inspired by the first volume of renowned Bengali author Sarat Chandra Chatterjee's seminal novel 'Srikanto'. On an idyllic retreat sponsored by an influential friend, Srikanto, the drifter-protagonist, comes across the beautiful Rajlokhi, his friend's mistress.

Because they come from different castes, the son of a tax collector and his true love are not allowed to marry, sending them down divergent paths.

활기와 생동감이 넘치는 1962년의 캘커타. 이국적인 도시를 배경으로 아름다운 러브 스토리가 펼쳐진다. 유년시절 고아가 되어 삼촌 가족과 함께 자라게 된 롤리타는 이웃에 살고 있던 대부호의 아들이자 음악적 재능을 지닌 셰카르와 운명적으로 만나게 된다. 유년과 사춘기를 함께 보내며 롤리타와 셰카르의 깊은 우정은 조금씩 사랑으로 변하기 시작한다. 그러던 어느 날, 영국에서 찾아온 신사 기리쉬가 롤리타에게 관심을 갖기 시작하면서 롤리타와 셰카르는 서로의 감정을 재확인하게 된다. 그러나 둘의 순수한 사랑은 탐욕과 거짓말, 그리고 악의적인 의도로 인해 어둠이 드리우기 시작한다. 그리고 서로에 대한 의심과 오해가 난무하면서 그들 사이에는 의도치 않은 사건과 사고들이 발생하게 되는데…

영국에서 10년간의 유학생활을 마치고 막 귀국한 데브다스. 그는 어머니보다도 파로를 먼저 만나러 간다. 파로는 데브다스와 어릴 때부터 단짝친구로 지내온 이웃집 아가씨. 헤어질 때부터 촛불을 켜놓고 데브다스를 그리워한 파로와 데브다스는 격정적인 사랑에 빠져든다. 그러나 둘이 결혼하는 것을 못마땅해하던 데브다스의 집안은 파로의 어머니를 공개적으로 망신을 주고 결국 둘을 갈라놓는다. 데브다스는 파로에게 이별을 통고하는 편지를 쓰는 한편, 고통을 잊기 위해 고급유곽을 드나들다가 아름다운 찬드라무키를 알게 된다. 술에 탐닉하기 시작한 데브다스를, 찬드라무키는 마음 깊숙이 사랑하게 된다. 한편 파로는 지역의 막강한 유지와 결혼을 하고, 자신의 남편이 죽은 전처를 잊지 못하고 있다는 사실과, 남편과 전처 사이에 세 명의 자식이 있다는 사실을 알게 된다.

영국에서 10년간의 유학생활을 마치고 막 귀국한 데브다스. 그는 어머니보다도 파로를 먼저 만나러 간다. 파로는 데브다스와 어릴 때부터 단짝친구로 지내온 이웃집 아가씨. 헤어질 때부터 촛불을 켜놓고 데브다스를 그리워한 파로와 데브다스는 격정적인 사랑에 빠져든다. 그러나 둘이 결혼하는 것을 못마땅해하던 데브다스의 집안은 파로의 어머니를 공개적으로 망신을 주고 결국 둘을 갈라놓는다. 데브다스는 파로에게 이별을 통고하는 편지를 쓰는 한편, 고통을 잊기 위해 고급유곽을 드나들다가 아름다운 찬드라무키를 알게 된다. 술에 탐닉하기 시작한 데브다스를, 찬드라무키는 마음 깊숙이 사랑하게 된다. 한편 파로는 지역의 막강한 유지와 결혼을 하고, 자신의 남편이 죽은 전처를 잊지 못하고 있다는 사실과, 남편과 전처 사이에 세 명의 자식이 있다는 사실을 알게 된다.

This film is based on five shot stories of Rabindranath Tagore's Jibito O Mrito, Sarat Chandra Chattopadhyay's Abhagir Swarga, Gour Kishore Ghosh's Aei Daha, Prafulla Roy's Satgharia and Dibyendu Palit's Kaanch.

A Bangladeshi Bengali language film adapted from the novel of the same name by Sarat Chandra Chatterjee, this is the story of a struggling woman whose husband is an addict and whose daughter and sister-in-law are widowed.

Devdas is a Bengali-language film based on the Sharat Chandra Chattopadhyay novel Devdas. It is the first Bangladeshi version of the story and the first colour film version in Bangladesh. It was the first of two versions directed by Chashi Nazrul Islam.

The film portrays a charismatic and passionate freedom fighter 'Sabyasachi', taken from the novel 'Pather Dabi' by Sarat Chandra Chattopadhyay, in his repeated struggle against the full might of the colonial British rule.

Saudamini is a pampered girl until she is forced to marry the widower Ghanshyam and move into his large household. Saudamini cannot cope with her husband's overbearing and greedy stepmother and pines after the man she really loved and had to abandon, Narendra.

Kusum and Brindavan are two small children living in a small village in India. Both love each other, and decide to marry when they grow up. Kusum has his name tattooed on her arm. But fate has other plans - both are separated. Kusum thinks that Brindavan has betrayed her, and she burns her arm to eradicate the tattoo. Years later, Kusum has grown up and is looking after a wealthy woman in her village. The wealthy woman falls sick, and her son brings in a doctor to treat her. Kusum's hopes for meeting her beloved surface, when she finds out that the doctor's (Jeetendra) name is Brindavan

Bindubasini, a young woman, faces conflicts in her married life. In an attempt to divert her attention, she decides to raise a child.

Radha lives with her widowed dad and is of marriageable age. Accordingly her details her provided to a marriage-broker, Avtar, who also doubles as a Ved (Village Doctor). He brings the proposal before Shriram and his wife, Sita. They approve of Radha and show her photograph to Shriram's brother, Dr. Madhu, who agrees to marry her. The marriage is celebrated with great pomp and ceremony in the entire village. It is then that the Shriram, Sita, and Madhu find out that Radha has a serious illness - a fact that was known to Avtar - but not communicated to them. This illness prevents her from being intimate with Madhu, and the only cure is when she has a child of her own. Will this marriage be annulled?

Ajoy Kar's 1969 film adaptation of Sarat Chandra Chatterjee's 1914 novel, 'Parineeta'.

Ajoy Kar's 1969 film adaptation of Sarat Chandra Chatterjee's 1914 novel, 'Parineeta'.

Based on the novel "Grihadaha" written by Sarat Chandra Chattopadhyay.

Andhare Alo is a 1957 bengali movie by Haridas Bhattacharya

Childhood sweethearts grow up in a small village with a love-hate relationship which changes to love when they mature.

Nilambhar Chakravorty belongs to a poor family, and lives in a joint family with his married brother, Pitambar, unmarried sister, Punnu, and wife, Biraj. Since his sister is of marriageable age, he arranges her marriage, and borrows some money. When Pitambar comes to know about this, he refuses to share any expense in his sister's marriage, and decides to separate, resulting in a fence being put up between their homes. Nilambher, unable to find employment, is unable to pay back the loan, and soon both he and his wife barely have enough to live on. To complicate matters further, Deodhar, a wealthy young contractor has his eye on Biraj's beauty and would like to be intimate with her, in return for money and a better life.

Landlord Narayan Rao's son Devdasu and Parvathi, their poor neighbour's daughter, fall in love. But Devadas's family does not approve of the relationship.

In Calcutta at the turn of the century, two families (one wealthier than the other but both belonging to the same caste) live in adjoining properties. Their respective patriarchs fall out over the repayment of a loan and the intervention of a member of a lower caste in the families' financial arrangements. The rift causes much heartache to the younger members of the families, two of whom have secretly plighted their troth to each other.

Businessman Baikunth remarries after the death of his wife and is blessed with a second son. Years later, he leaves his wealth to his wiser elder son, which causes friction between the two brothers.

Suren (P. Sanyal), prevented by his family from pursuing a university career, leaves home and becomes a tutor to Pramila (Zainab). He falls in love with her widowed elder sister Madhavi (Molina Devi) who, although returning his love, has him sacked to save the situation.

The poor but educated Mahim and his childhood friend, the rich but conservative Suresh, both fall in love with the same woman, the liberated Achala. Mahim marries her and they move to a village but she cannot forget Suresh. Her smouldering unhappiness takes the form of a resentment towards the orphaned Mrinal, raised by Mahim's father, and receives a dramatically visual embodiment when their house burns down. Mahim falls ill, is rescued by Suresh and nursed back to health by Achala. On a train (a metaphor for the irreversibly linear course of life) to a health-resort where Mahim is supposed to convalesce, Suresh on a rainswept night gives in to temptation and elopes with Achala. At the end of the film, there is a dubious reconciliation as Achala is shown following Mahim's 'good' traditionalism with Saratchandra's barely concealed hostility towards Achala's liberated Brhamo Samaj upbringing.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a prostitute.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a prostitute.

Devdas, the son of a zamindar, and Parvati, his neighbour's daughter, are childhood sweethearts. However, class and caste differences prevent their marriage. Devdas is sent off to Calcutta, while Paro is married off to an aged rich widower. In Calcutta, as remorse drives him to alcohol, Devdas meets Chandramukhi, a prostitute. All Indian prints of this Bengali version were destroyed in a fire that ravaged New Theatre’s studios. Today, only one copy of the film survives which belongs to the Bangladesh Film Archives. Of that copy almost forty percent is destroyed.

Love-triangle story revolving around an upper-class Bengali hero. Satyendra, the son of a zamindar, experiences the conflict between family duty and the modern world in terms of his desire for an 11-year-old virgin bride, Radharani, and the nurturing and self-sacrificing courtesan Bijli. It depicts several stereotypical scenes like drunkeness and a courtesan's dance.

The story revolves around three characters: Annapurna, her son Amulya, and Bindubashini, a woman desperate to become a mother. Annapurna's husband Jadab goes through much hardship to pay for his younger brother Madhab's education; years later, Madhab becomes an eminent lawyer. Madhab's wife Bindubashini comes from an affluent family and is strikingly beautiful. Bindu is childless and when she gets to take care of Amulya, her yearning to experience motherhood finds some fulfillment. Sisters-in-law Bindu and Annapurna share a bittersweet relationship. Bindu respects Annapurna and the latter reciprocates by showering a lot of affection on her. But they have frequent rows over household chores. One day, they have a major disagreement over Amulya's upbringing. The disagreement proves to be irreconcilable. As a result, the two families split. The after-effects of this disagreement reverberate between the two estranged families for a long time.