Film Analysis: 'Banalata Sen' Challenges Story-Centric View of Cinema
A recent analysis of Bangladeshi cinema, particularly focusing on the film 'Banalata Sen,' argues that judging films solely by their narrative is an insufficient and immature approach. The author contends that while story is an element of cinema, it is not its defining characteristic. Early films, like the 1888 'Roundhay Garden Scene,' lacked narrative but were groundbreaking. Cinema has evolved over a century, incorporating elements from literature, drama, music, and technology to create a unique art form.
The core argument is that film is fundamentally an art of emotion, and audiences leave theaters carrying feelings, not just plot points. This perspective draws on the ancient Indian aesthetic concept of 'Nava Rasa' (nine emotions: love, humor, sorrow, anger, heroism, fear, disgust, wonder, and peace) as a framework for understanding cinematic impact. Films like Mezbabur Rahman Sumon's 'Roid' are described as primarily evoking 'Shanta Rasa' (peace), while Mohammad Tawqeer Islam's 'Delupi' blends 'Karuna Rasa' (sorrow) and 'Veera Rasa' (heroism).
Masud Hasan Ujjal's 'Banalata Sen' is presented not as a conventional biopic but as a cinematic translation of poet Jibanananda Das's consciousness, blending reality and surrealism. The character 'Mohin' is highlighted as a symbolic representation of Das's inner self, embodying his unfulfilled desires and perpetual journey. While the film's visual aesthetic, with its painting-inspired frames, controlled use of color, and composition, is praised as rare in Bangladeshi cinema, the analysis points to a weakness: the screenplay's over-reliance on dialogue to explain its symbolic and surreal elements, undermining the audience's interpretive agency.
This analysis critiques the prevailing tendency to evaluate films primarily through narrative, advocating for a more nuanced appreciation of cinema as an emotional and symbolic medium. By referencing ancient Indian aesthetics and contemporary examples, it encourages filmmakers and audiences to look beyond plot to the affective and visual language of film. The critique of 'Banalata Sen' for over-explaining its symbolism highlights a common challenge in adapting complex literary or psychological themes to screen: balancing artistic intent with audience interpretation. Future cinematic endeavors might benefit from trusting viewers' capacity to engage with ambiguity, allowing visual and thematic elements to resonate without explicit narrative reinforcement, thereby fostering deeper, more personal viewer experiences.
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