Tapan Sinha@100

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The Moulding of a Master: Bimal Roy and Tapan Sinha

Ratnottama Sengupta re-views Tapan Sinha through the lens of Bimal Roy. Or is it vice versa…?

Latest in Tapan Sinha@100

The Moulding of a Master: Bimal Roy and Tapan Sinha

Ratnottama Sengupta re-views Tapan Sinha through the lens of Bimal Roy. Or is it vice versa…?

Tapan Sinha: The Humanist Filmmaker

Tapan Sinha's films juxtaposed stark reality with pristine beauty and showed the beauty of life amidst its strife. Sinha's nephew Siddhartha Ghosh explores.

A Shout Out for an Unclaimed Beloved

Shiladitya Sarkar analyses Tapan Sinha's journey as a chronicler of his times through the lens of two of his best-loved films Galpo Holeo Satti and Ek Doctor ki Maut

Sagina Mahato: The Bitter Brew of Labour Struggles

In the backdrop of the struggles of the workers in tea plantations, Tapan Sinha’s Sagina Mahato explored the power struggles within the communist movement.

The Healing Touch: Doctors in Tapan Sinha’s Films

In Tapan Sinha's rich and impressive oeuvre, four films have doctors as central characters. Subha Das Mollick explores the motivations that drive the doctors in these films.

Harmonium — A Symbol of Interconnected Lives

A harmonium emerges not only as a symbol of interconnected stories, lives, and tragedies, but also as the focal point in an array of musical genres in Tapan Sinha’s Harmonium.

Tapan Sinha and Feature Film Management

Those who worked with Tapan Sinha learned a lot about filmmaking. Nilanjan Bhattacharya, a documentary filmmaker reminisces the working culture of Tapan Sinha’s unit.

Ethics and Moral Lessons in Tapan Sinha’s Apanjan

Apanjan (1968), raised questions regarding the role of the older generation in a rapidly changing India. Michelangelo Paganopoulos focuses on the moral tale of the film and its relevance in today's society.

The Impossibility of Love: Three Films of Tapan Sinha

Gayatri Chatterjee explores three films by Tapan Sinha — Jhinder Bandi, Kshudhita Pashan and Jatugriha, examining how they portray love as an impossibility.

Bancharamer Bagan: Between Parable and History in the Postcolony

Trinankur Banerjee analyzes Tapan Sinha's Bancharamer Bagan highlighting its unique blend of parable and historical narrative.

The Cinema of Tapan Sinha — Literary Synthesis and Cinematic Demarcation

Partha Pratim Ghosh explores why Tapan Sinha was deprived of film society attention. And how this paradox is finally resolved, posthumously.

The City, Crime and Middle Class Vulnerability in Tapan Sinha’s Films

Tapan Sinha's Adalat O Ekti Meye, Atanka, and Antardhan map the idea of a middle-class community life not in its proud and fulfilled existence but in crisis and trouble.

Jatugriha and Ijaazat: Love in Fragments

Jatugriha by Tapan Sinha is one of the films that handled the theme of schisms in marriage with aesthetic sensitivity, technical finesse and, most importantly, strong social relevance.

Khaniker Atithi and Zindagi Zindagi: Two Sides of One Coin

Tapan Sinha’s Khaniker Atithi (1959), and its Hindi remake Zindagi Zindagi (1972) examine themes of humanity and love, juxtaposed against ambition, prejudice, and casteism.

Kabuliwala Champions a Humanity That Transcends Superficial Differences

Tapan Sinha’s Kabuliwala skewers societal stereotypes and champions a humanity that transcends superficial differences like race, religion, gender and age

Upahar — The Unwanted Gift

Tapan Sinha's Upahar looks at Calcutta's evolving society in post-independence India, caught between an emerging liberal outlook and age-old prejudices through the story of a miserly landlord, his abused daughter, and his compassionate tenants.

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