Mukti (1937 film)
Mukti is a 1937 Indian Hindi and Bengali-language drama film, directed by Pramathesh Barua and produced by New Theatres.
| Mukti | |
|---|---|
Mukti | |
| Directed by | Pramathesh Barua |
| Written by | Pramathesh Barua, Sajanikanta Das, Ajoy Bhattacharya, A.H. Shore |
| Starring | Pramathesh Barua, Kanan Devi, Menaka, Nawab, Amar Mullick, Sailen Choudhary, Ahi Sanyal, Jagdish Sethi, Bikram Kapoor, Pankaj Mullick, Indu Mukherjee, Kanak Narayan, Bibhuti Chakraborty, Kashi Choudhury, Jatin Dey, Sardeb Ray, Sukumar, Sudhir, Laxmi |
| Music by | Composer: Pankaj Mullick; Lyricist: Sajanikanta Das, Rabindranath Tagore, Ajoy Bhattacharya, A.H. Shore, Arzoo |
| Cinematography | Bimal Roy |
| Edited by | Kali Raha |
Production company | |
Release date |
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Running time | 115 mn |
| Country | India |
| Language | Hindi, Bengali |
| Budget | Rs. 3,00,000 |
| Box office | Rs. 7,48,200 |
Plot
This classic adultery story tells of an artist, Prasanta (Barua) presented in the stereotypically romantic image: dedicated to his vocation, paying no heed to his scandalous reputation (he paints nude models) and with a cavalier attitude to his conservative father-in-law's (Choudhury) demands for a good social behaviour. He is married to the rich Chitra (Kanan Devi). The couple are in love but neither partner is prepared to compromise their ideals. The marriage falls apart. Prasanta concedes his wife's demand for a divorce and goes to the jungles of Assam, where for many years his closest associates are a wild elephant and Jharna (Menaka), the wife of an innkeeper named Pahari (P. Mullick). He also makes a sworn enemy of a local trader (Nawab/A. Mullick). Chitra marries the millionaire Bipul (Mukherjee) and they go an elephant hunt. They kill Prasanta's pet elephant. Since Chitra believes Prasanta to be dead he avoids meeting her, but is forced to rescue her from the villainous trader.. Prasanta succeeds but dies at Chitra's feet. The film interprets his death as Chitra's final achievement of the freedom she had craved. Barua contrasts the regressive story presented as static and unresolved, both as narrative and as performance, with a hyperactive environment that overwhelms the trivial nature of the lead couple's desires.
