Pramathesh Barua | |
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 Pramathesh Barua and Jamuna Barua in Devdas (1935) | |
| Born | Pramatesh Chandra Barua 24 October 1903 Gauripur, Dhubri, Assam, British India |
| Died | 29 November 1951 (aged 48) |
| Spouse(s) | Jamuna Barua Madhuri Lata |
Pramathesh Chandra Barua (24 October 1903 – 29 November 1951) was an Indian actor, director, and screenwriter of Indian films in the pre-independence era, born in Gauripur, Dhubri, Assam. [1]
Barua was the son of the royal family of Gauripur (belongs to Gauripur Rajvanch), Dhubri,Assam,his father Raja Prabhat Chandra Barua was a zamindar of Gauripur, Assam and mother Sorojbala. Pramathes barua was born in Gauripur and spent his childhood. [2] He studied at Hare School, Calcutta and then Bachelor of Science graduated from Presidency College, Calcutta [3] in 1924. At age 18, while still studying in college, he got married. It was arranged by the family. He had two more marriages. His third wife was film actress Jamuna Barua. One of his wives, either Madhuri Lata or Amalabala, and singer Meena Kapoor's mother were sisters. In other words, one of his wives was Meena Kapoor's aunt. [4] After his graduation, he travelled to Europe, where he received his first exposure to films. After returning, he served for a time in the Assam Legislative Assembly and joined the Swaraj Party but ultimately moved to Calcutta and later began a career in films, much to the chagrin of his father.
Pramathesh Barua's stepping into the world of films was accidental. He was introduced to Dhirendranath Ganguly during his stay in Shantiniketan. Pramathesh Barua started his film career in 1926 as a member of British Dominion Films Ltd. In 1929, he appeared for the first time on the silver screen in a film named Panchashar which was directed by Debaki Kumar Bose. He also acted in Takay Ki Na Hay, another film directed by Dhiren Ganguly. [5]
Around this time, an actress of the silent era named Irish Gasper (Screen Name: Sabita Devi) urged Pramathesh Barua to go independent and build his own studio. Pramathesh Barua wanted to go to Europe and get a practical knowledge of the art and craft of film-making. In 1930, his father Raja Prabhat Chandra Barua sent Pramathesh to England for the removal of a kidney stone. After the successful operation, he went to Paris with a letter of introduction from Rabindranath Tagore and met M Rogers. He received thorough training in cinematography in Paris. He learned a lot about lighting in studios at the Fox Studio. He also observed the production of Elstree Studios in London. [6]
He returned to Calcutta after purchasing lighting equipment and set up Barua Film Unit and Barua Studio in his own residence in Calcutta. [7] He then made the first film Apradhi (1931) where he was the main lead role and it was directed by Debaki Kr. Bose. Apradhi is a very important film in the history of Indian cinema as it was the first Indian film that was shot under artificial lights. Prior to that Indian films were shot with the help of reflected sunrays. While using artificial lights, he also made necessary changes in the makeup process to suit the lighting. This experimentation led to a wastage of 50,000 feet of 'picture negative' and another 1,000 feet of 'picture negative' was wasted with experimentation of make-up of artists. Apradhi thus brought radical changes to the technical environment for Directors in Indian cinema. [8]
In 1932, he produced films like Nisher Dak and Ekada. The story of Ekada was written by him and it was directed by Sushit Mazumder. He played a villain in the film Bhagyalakshmi which was directed by Kali Prasad Ghosh for Indian Cinema Arts.
In 1932, when the talkie era came he made his first talkie named Bengal-1983. Released by Rabindranath Tagore, it was a brave attempt by him due to the subject matter. It was shot in 8 days, which showed the tenacity and single-mindedness of Pramathesh Barua. The film was a disaster which left Barua with no choice but wind up his company.[ citation needed ]
In 1933, he was invited by BN Sarkar to join New Theatres and this led him to the zenith of his career as a film-maker.[ citation needed ] He excelled in all technical aspects of film-making – direction, acting, script writing, photograph composition, editing or any other necessary skills. He now directed Rooplekha, the first talkie of New Theatres, and also played the lead role opposite Umashashi. Released in 1934, Rooplekha introduced another new technique. For the first time in Indian cinema, flashback was used for storytelling.
Pramathesh-Barua then came to Devdas. [9] It was not the first time that Sarat Chandra Chatterjee's tragic hero of the Bengali classic was adapted in Indian films, but Barua's portrayal of Devdas was so lively that the made the tragic hero a legend. He directed both the Bengali and Hindi versions and played the lead role in the Bengali version. It has been said that Pramathesh Barua's lifestyle made it possible for him to act the role of Devdas so convincingly. [10] Devdas was released in 1935 and it was an instant commercial success. Cine scholars have said that it was the first successful social film in India and it changed the entire outlook of Indian social pictures. Devdas was also admired by cine scholars for the appropriate use of 'flashback', 'closeup', 'montage', 'wipe','dissolve', and 'fade-in and fade-out'. Devdas is also considered a landmark in the world cinema for the introduction of the technique of 'intercut telepathy shot'. [11]
Mukti was another bold film made by Pramathesh Barua. Mukti was the modern version of Devdas depicting the nostalgia of a man. The film was shot in the backdrop of the scenic beauty of Assam. [12] Rabindra Sangeet was first used successfully in the film. Pankaj Mallik also composed the music for one of the poems of Rabindranath Tagore, 'Diner Sheshe ghumer Deshe'. Another important aspect of this film was that a major part of the film was shot outdoors.[ citation needed ] It took almost two decades after this film that realistic filmmakers were more interested to shoot outdoors.
In most of his previous films, Pramathesh Barua had a tragic hero. But, in 1939, he made a movie Rajat Jayanti that made people burst out with laughter. This film is considered to be the first Indian comedy talkie. In the same year, he made Adhikaar which ushered new thoughts in Indian cinema. His social criticism reached such an extent that the film advocated class struggle. The use of symbolism was highly admired. Pramathesh Barua also made a brave attempt by trying to blend Indian classical music with a Western symphony. Encouraged by him, Timirbaran performed the blending successfully which was thought to be nearly impossible.[ citation needed ]
In 1940, Pramathesh Barua made Shapmukti for Krishna Movietone. Shapmukti greatly appealed to viewers tremendously for its highly tragic scenes. The film ended with 3 death sequences which Barua depicted with 'cut-shot' technique. Noted French film critic Georges Sadoul highly admired Pramathesh Barua for his brilliant use of 'cut-shot' technique which was also a pioneering effort in the early days of Indian cinema.[ citation needed ]
His film Uttrayan which was released in 1941 was also a path-breaking film in its own right. Prior to this film, stories of Indian films would start after the credits.[ citation needed ]
Although, Barua's breakthrough with New Theatres came with Devdas [13] in 1935. The film was first made in Bengali, with Barua himself in the title role; he then remade it in Hindi as the 1936 film Devdas , [14] with K.L. Saigal as the leading man. The Hindi version became a craze all throughout India; it cemented Barua as a top-notch director and Saigal as the top-notch hero of Indian films. The Devdas (Assamese) was Barua's last of three language versions. Barua followed up Devdas with Manzil in 1936, Mukti in 1937, Adhikar in 1938, Rajat Jayanti in 1939, and Zindagi (which reunited him with Saigal) in 1940. Phani Majumdar who later became a noted film director in his own right, started his film career with Barua at New Theatres. [15]
Barua's films were photographed by Bimal Roy, who would later become an accomplished director in his own right.[ citation needed ]
Barua left New Theatres in 1939 and freelanced thereafter. However, of his post-New Theatres films, only Shesh Uttar/Jawab (1942) stood out. He planned an Indian version of The Way of All Flesh , but it never materialised. He took to drinking heavily, [16] and his health began to decline; he died in 1951. [17]
Sarat Chandra Chattopadhyay, was a Bengali novelist and short story writer of the early 20th century. He generally wrote about the lives of Bengali family and society in cities and villages. However, his keen powers of observation, great sympathy for fellow human beings, a deep understanding of human psychology, an easy and natural writing style, and freedom from political biases and social prejudices enable his writing to transcend barriers and appeal to all Indians. He remains the most popular, translated, and adapted Indian author of all time.
New Theatres is an Indian film studio. It was formed in Calcutta by producer B. N. Sircar. It was formed on February 10th, 1931. The company motto was "Jivatang Jyotiretu Chhayam," meaning, "Light infusing shadows with life." Sircar preferred to function roughly analogous to an executive producer. He built a processing laboratory, and acquired staff. Once a film subject was selected and a team assembled to create the picture, Sicar ensured that adequate funds were provided, while refraining from interfering with its execution. He made New Theatres a symbol of Bengali cinema's artistic good taste and technical excellence.
Jamuna Barua was a leading Indian actress.
Devdas is a 1935 Bengali film directed by Pramathesh Barua and based on the Sharat Chandra Chattopadhyay novel, Devdas. It stars Barua as Devdas, Jamuna Barua as Parvati (Paro) and Chandrabati Devi as Chandramukhi. This was Barua's first of three language versions of the story, the second being in Hindi and the third in Assamese. The Bengali film was dubbed into Tamil and was released in 1936. K. L. Saigal sang two songs in Tamil for this film.(See Ext. links for a link.)
Devdas is a Bengali novel by Sarat Chandra Chattopadhyay, first published in 1917 and adapted as a film many times.
Kanan Devi was an Indian actress and singer. She was among the early singing stars of Indian cinema, and is credited popularly as the first star of Bengali cinema. Her singing style, usually in rapid tempo, was used instrumentally in some of the biggest hits of New Theatres, Kolkata.
Gauripur is a semi-urban town under Gauripur Town Committee in the Dhubri district in the state of Assam, India.
Devdas is a 1936 Hindi-language Indian drama romance film based on the Sharat Chandra Chattopadhyay novella, Devdas. Directed by Pramathesh Barua, it stars K.L. Saigal as Devdas, Jamuna Barua as Parvati (Paro) and Rajkumari as Chandramukhi. This was Barua's second of three language versions, the first being in Bengali and the third in Assamese.
Assamese cinema is the Indian film industry of Assamese language. It is based in Assam, India. The industry was born in 1935 when Jyoti Prasad Agarwala released his movie Joymoti. Since then the Assamese cinema has developed a slow-paced, sensitive style. In the beginning the industry were called Jollywood, for Agarwala's Jyoti Chitraban Film Studio.
Krishna Chandra Dey, better known as K. C. Dey, was an Indian music director, music composer, musician, singer, actor, and music teacher born in Calcutta. He was S.D. Burman's first musical teacher and mentor. His father's name was Shibchandra Dey. In 1906, at the age of fourteen, he lost his eyesight and became completely blind. He worked for various theatre groups and finally went on to work for New Theatres in Kolkata until 1940. He is best remembered for his Kirtan songs. He was patronized by many elite families of Calcutta at that time. He often sang in Jalsa of Rajbari of Sovabazar, Mitra House of Beadon Street and many others. K. C. Dey recorded around 600 songs, mostly in Bengali, Hindi, Urdu, Gujarati and 8 Naats.
Parbati Barua is an Indian animal conservation activist and a mahout, She was one of nine children to late Prakritish Chandra Barua of the Royal Family Of Gauripur. Prakritish was the last member of the Rajahs of Gauripur to hold power. She came to the limelight after the BBC created the documentary "Queen of the Elephants" based on her life, along with the companion book by Mark Shand. She resided in Guwahati and was also a member of the Asian Elephant Specialist Group, IUCN. She was the sister of Pratima Barua Pandey and niece of filmmaker Pramathesh Barua of Devdas fame.
Devdas is a 1937 Assamese film based on the Sharat Chandra Chattopadhyay novella, Devdas. Directed by Pramathesh Barua, it stars Phani Sarma as Devdas, Mohini as Chandramukhi, and Zubeida as Paro. The songs were playbacked by Shamshad Begum and Bhupen Hazarika. This was Barua's last of three language versions, the first being in Bengali and the second in Hindi.
Pratima Barua Pandey was an Indian folk singer from the royal family of Gauripur in Western Assam's Dhubri district. Barua Pandey, a national awardee, best known for her Goalpariya songs Hastir Kanya and Mur Mahut Bandhure, was the daughter of Prakritish Chandra Barua (Lalji) and niece of filmmaker Pramathesh Barua of Devdas fame.
Debaki Bose (1898–1971), also known as Debaki Kumar Bose, was an Indian director, writer, and actor who is recognized for his contribution in Hindi as well as Bengali cinema. He was born on 25 November 1898 in Akalposh,, Burdwan, Bengal Presidency, British India. He died on 17 November 1971 in Calcutta, West Bengal, India. He is known for his innovative use of sound and music in Indian Cinema. He worked first under the banner of British Dominion Films of Dhiren Ganguly and later with Pramathesh Barua's Barua Pictures and finally he joined New Theatres banner in 1932. He started his own production company, Debaki Productions, in 1945.
Birendranath Sircar was an Indian film producer and the founder of New Theatres Calcutta. He made Bengali-language films that were noted for introducing many film directors who later became famous. He was awarded the Dada Saheb Phalke Award in 1970 and the third highest civilian award in India, the Padma Bhushan, in 1972.
Devdas is a 1965 Pakistani drama movie directed by Khawaja Sarfaraz, based on the Sharat Chandra Chattopadhyay famous Bengali novel Devdas from 1917. It starred Habib, Shamim Ara and Nayyar Sultana in lead roles supported by Asad Bukhari, Azad, Ajmal, Maya Devi and Razia. Sultan Rahi appears in the film as an extra.
Matiabag Rajbari or Matiabag Palace is located in Gauripur in Dhubri district of Assam. The palace was built by Raja Prabhat Chandra Barua of the Gauripur royal family on a small hill-top at Matiabagh, Gauripur on the banks of the Gadadhar river. It was the royal guest house and summer residence (Hawakhana) by the royal family of Gauripur, also known as ‘Rangamati Baruas. The construction of the palace began in 1904 and was completed by 1914. The palace was built by Chinese carpenters from China Town in Kolkata at a cost of ₹ 340000, the palace features elements of Hindu, Mughal and British architecture.
Mukti is a 1937 Indian Hindi and Bengali-language drama film, directed by Pramathesh Barua and produced by New Theatres.
Molina Devi, also known as Molina Debi and Malina Debi, was an Indian Bengali actress of Bengali and Hindi film and theatre. As an actress, she played a wide variety of parts, later frequently playing matronly parts, especially Rani Rashmoni, patroness of the 19th century Bengali mystic Sri Ramakrishna. She acted in several dozen films, mostly in Bengali and Hindi. With actor Gurudas Banerjee, she also directed a Calcutta-based theatre troupe, M. G. Enterprises.
Shoma A. Chatterji is an Indian film scholar, author and freelance journalist. She has been the recipient of a number of awards including the National Film Award for Best Film Critic in 1991 and the National Awards for Best Writing on Cinema for her study of the works of Aparna Sen in the publication, Parama and Other Outsiders: The Cinema of Aparna Sen (2002). Notably, she is the only woman to have won both the national awards. She is the author of several biographies including those on Pramathesh Barua, Ritwik Ghatak and Suchitra Sen.
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