RAAS premiere celebrates rural nostalgia and emotional reunions
Tathagata Mukhopadhyay's Bengali film RAAS premiered, starring Vikram Chatterjee and Devlina Kumar. The film explores Somnath's return to his village after 18 years, reconnecting with his childhood love during Raas Purnima. RAAS contrasts the peace of rural Bengal with the isolation of urban life, highlighting themes of rediscovery and nostalgia, reflecting the emotional void felt in city life.
The premiere of the Bengali film
RAAS
recently took place at a city theatre, drawing an enthusiastic crowd of cinephiles, industry professionals, and well-wishers. The red-carpet event was graced by the film's cast and crew, along with several notable figures from the Bengali film fraternity.
Director Tathagata Mukhopadhyay was joined by lead actors
Vikram Chatterjee
and
Devlina Kumar
, who play Somnath and Rai respectively. Also in attendance were key cast members including Anashua Majumder, Anirban Chakrabarty, Sudip Mukherjee, Ranojoy Bishnu, and Arna Mukhopadhyay. Singers Manoj Murali Nair and Somlata Acharyya, who lent their voices to the soulful track
Amra Dujona
, were also present.
RAAS
tells the story of Somnath, who returns to his ancestral village of Manikpur after 18 years and reconnects with his childhood love, Rai, during the Raas Purnima festivities. Through its quiet portrayal of rural Bengal, the film contrasts the serenity of village life with the fast-paced, often isolating nature of urban living. As Somnath retraces his emotional roots,
RAAS
unfolds as a tale of rediscovery, nostalgia, and longing.
Speaking at the premiere, Tathagata remarked, '
RAAS
reflects the emotional void many feel in city life. It's a journey back to innocence and rootedness.'
The ensemble cast also includes Shankar Debnath, Parijat Chaudhuri, Debasish, Debaprasad Halder, and Apratim Chatterjee, bringing depth to this reflective, emotionally resonant narrative.
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Time of India
3 hours ago
- Time of India
Anirban Calling Anirban: Gaan, golpo & some drama
Mixups are often the norm in the lives of Anirban and Anirban. Especially when they are cast together, as it happened in Mukhosh. The crew in such cases would refer to them as 'Dariye Anirban, boshe Anirban' or 'Samner Anirban, or pechhoner Anriban' Namesakes who share a passion for theatre, a commitment to culture and a penchant for creativity – Anirban and Anirban are two unique personalities shaping the contemporary Bengali entertainment space in their own ways. If Anirban Chakrabarti is at the peak of his commercial success, with Eken's latest cinematic outing clocking house-full shows, Anirban Bhattacharya's band Hooligaanism, and its ear-worm of a song Melar Gaan has been a hot favourite with both reelmakers and serious music lovers. On a rainy day at SKAI, we got the two multi-talented, multi-hyphenate, and now headlining artistes together for an exclusive adda. Glimpses. Both of you have that one thing in common, a solid grounding in theatre. How much of what you do today in the realm of acting, singing, directing, is influenced by your stage experience and the discipline that comes with it? Anirban Bhattacharya (AB): You could say it's entirely there. Because when I entered films, I didn't specifically learn anything for cinema. But I spent years doing theatre — many different kinds of productions. Today, whether it's cinema or music, I've realised one thing: you can't do anything alone. The strength of a community is very real. There's unity in it, but also individuality. That's why Anirban da and I are sitting here today. Which is cool, and fine. But when you want to create something new, or challenging, or different, it's possible only through a group movement. I try to follow this idea of community practice, community training. Everything I do or plan to do is rooted in that. And all of it comes from theatre. Anirban Chakrabarti (AC): I started theatre when I was in class four. I wasn't old enough to really understand the medium, I just knew I liked it. It became part of my daily routine, like studying, playing, or other activities. But it was also something that set me apart. My friends didn't do it, only I did. And that made it special. Later, in college, theatre became a passion. I took it seriously and started learning. When I first worked with you (gestures to Anirban B), you were doing theatre full-time. I was juggling it with a job. That was tough and it made me think: Maybe I should take theatre more seriously. Eventually, I quit my job. My learning came entirely from experience, trial and error. I think that's how most people learn. Now, when I look back at my journey as an actor, I see that it's rooted in theatre. Even on screen, what I bring to a role comes from what I've learned on stage. I just deliver it differently. The way I think about acting isn't the same as the way he (Anirban B) does. He has a different process. I don't separate cinema and theatre, I think about the character. And discipline, that's the word. Besides that, community and core values. Once you internalise those, the process becomes easier. And when you're in for rehearsals, leave your baggage outside. You've worked together on stage and on screen and have followed each other's creative journeys. What are your biggest takeaways from that collaboration and observation? AB: I'm a huge fan of Anirban da. When I first saw him on stage, I knew instantly—this man is a rule breaker in the truest sense. He has mastered everything, the legacy, the structure, the projection, the style—and then he breaks every rule and still makes it work with his naturalistic acting. His performances are intense, incredible, and leave a lasting impact. When it comes to cinema, the way he approaches characters - he makes himself irreplaceable. 'Maane kono character jodi Anirban da ke dewaa hoyeche, maane eita Anirban da kei manabe. You can't cast anyone else.' His acting is that distinctive. AC: I've seen Anirban from the very beginning of his career. When he first came on stage, there was already a buzz about a promising young actor. He was doing King Lear, Debi Sarpamasta, and a few other plays which I would make it a point to watch. I was astounded. Everything was there. His diction, singing, movement. Then I got to work with him. I like to observe and learn, and I saw how closely he worked with directors, asking the right questions, getting into the details. That made me think - he would make a good director. I even told him that once. He laughed it off at the time, saying he wouldn't go beyond theatre production. But within a few months, he was directing OTT series and films. Mandaar was fantastic. Ballabhpurer Roopkotha was wonderful. I hope to keep learning from him as an actor, and from him as a director, though I don't think I have it in me to direct. Anirbaner theke aami shikhte chaai! In recent times, several Bengali films and projects have done well. Eken has become a box-office sensation. On the other hand, Melar Gaan has gone viral. Do you think this reflects a positive turnaround among audiences who had stopped engaging with Bengali content, and is also attracting newer audiences? AC: If we had the formula, there would be no hits or flops! But yes, new ideas are being recognised. Eken didn't become popular overnight. Back in 2018, the way I treated the character is very different from how he is now. I made changes gradually, so I didn't alienate the audience. At first, I was an anonymous actor just doing what I was told. But over time, I started owning the character. At first, people liked it. Now, they love it. And yes, production plays a big role. If we don't use all the verticals to cater to the younger audience, especially on OTT, we're going to lose them. This generation is into Marvel movies. It is very difficult to impress them. But now I have pre-teens who come up to me and ask, 'Why doesn't Eken wear a cape? He's a superhero.' AB: Now is the right time to build a belief system. One where Eken, gaan, golpo, cinema, OTT across genres, all become a part of that system. A regional language, a regional culture, a community, cannot survive without this belief. We owe this to the next generation. Think about it: apart from speaking Bengali at home, how much is the language really used in daily life anymore? That's when you realise that we, as a people, are at a critical point. You have to make the audience your family. They are not just in Kolkata but also in Jalpaiguri, watching Adolescence. You cannot alienate anyone. You cannot fool them, or take them for granted. Respect them and believe in your own culture as well. Take Nandikar, for instance. Despite their stature and global performances even in 2007–08, their tickets were priced at `10. Anyone could watch their play. Anirban, you're known for creating big impact with very little. How do you manage tight budgets as an actor, director, and musician? AB: Production costs have gone up, but we're still using coconut oil cans to create special lighting effects! The economy hasn't gone anywhere. When you have no resources left, you rely on this (points to self). 'Accha, kichhu nei? Switch on your mobile, point it at me, aami obhinoy korchi…' I'm acting. As long as we have this (points to himself), we can keep creating, keep acting. AC: I would like to add something here. As an actor, I feel that budget is that one word which controls everything. I have a fair idea now of how things really work. As artistes, when we approach a project, a character, we plan things out in our head. We would like a certain kind of space to explore, to add some value to the role and the time to do a good job. But when things are hurried, and we are told that a shoot that should have taken a certain number of days has to be wrapped up quickly, all we can do is show up on the set and deliver. Shushtho bhabe kaj korte chaileo, aar kicchu kora jaay na. – With inputs by Poorna Banerjee Both of you have played a wide range of characters. From crowd-pleasing, absolute sunshine roles to the decidedly dark and grey ones. Which ones do you enjoy more? Anirban C in Shotyi Bole Shotyi Kichhu Nei AC: Definitely grey! I don't enjoy black-and-white characters because people aren't like that in real life. Ekta manush kokhonoi ekdom kharap ba ekdom bhalo hote parena. The problem is, sometimes characters are written too simply. I might want to explore the nuances of a role, but the script may not allow it. I enjoy characters where everything is not spoken or written down. It gives me a chance to explore, go deep and add my own touches to bring that character alive. And even if a handful of people notice that touch, it matters to me. I love sunshine characters. I also love grey. But not too dark. Because if I can't bring a touch of white into the dark, it doesn't feel real. I enjoy this discovery. Anirban B in Athhoi AB: Dark characters are tough, and they come with creative consequences. With Athoi, we envisioned a character that wasn't even human but more symbolic of our times. We had to make Shakespeare relevant to the present. That's how it works. But it became so intense, so dark that it was almost demonic. But I love grey characters, like Dracula Sir. Kintu ekta kotha, Anirban-da gets these wonderfully layered roles which no one does. I loved his work in Pradhan, Byadh. He has the advantage of having worked across genres and played fantastic characters with grey shades. 'I was worried about this scene. What if I looked funny instead of heroic?' The Masan Holi climax in The Eken: Benaras e Bibhishika was shot over two days. On Day One, we shot raw footage of the actual rituals, performed by real sadhus. Day Two was our shoot. There's the scene where I come out of the water. It was meant to look heroic—but I was unsure. Given my height, weight, structure, I was worried: Hashyokor lagbe na to? It was tricky because you usually blink or gasp when emerging from water. But I had to pop out, eyes wide open. It was close to sunset. The steps were slimy. I'm not water-phobic, but I do have hygiene issues. So there was some mental prep, and we did a few takes. Kore toh felelam, kirokom lagche janina! I usually don't ask to see the monitor, but I made an exception this time. Yes, we took some cinematic liberties—but it worked for the audience. But trust Eken to pour water on his own moment of glory with that now-famous punch line right afterwards. – With inputs by Poorna Banerjee Mixups are often the norm in the lives of Anirban and Anirban. Especially when they are cast together, as it happened in Mukhosh. The crew in such cases would refer to them as 'Dariye Anirban, boshe Anirban' or 'Samner Anirban, or pechhoner Anriban' Quotes: I don't like characters that are too white or too black. I enjoy complexity. Grey characters amar bhalo lage– Anirban Chakrabarti Ekhane as a director kichu korte gele, it's best if you don't try to learn too much. Especially if you want peace of mind– Anirban Bhattacharya Like in the South, we must build a culture of believers around our entertainment industry. If audiences stop believing in us, disown us, we will not survive. But if your film or song does not work and they say, 'Porer baar bhalo hobe,' it means they haven't given up on us– Anirban Bhattacharya Anirban da has an advantage. Because of how he looks, no one suspects him of being evil. Just a happy, smiling man. And when he suddenly turns into the bad guy, it comes as a surprise. But if I simply sit with my face away from the camera, doing nothing, people think I'm the shaitaan – Anirban Bhattacharya Melar Gaan is everywhere. People are making reels and having fun with it. And yet, it has such depth. Khubi gobhir ekta kotha bolchhe, jiboner kotha bolchhe. But even if someone enjoys it just on the surface, that's okay. Entertainment can be layered– Anirban Chakrabarti Bengali audiences abroad who are in their 40s, seek Bengali content. But their children may not feel the same way. We need entertaining & meaningful stories for them. Reach, but don't preach– Anirban Chakrabarti Location: SKAI Pics: Anindya Saha
Time of India
8 hours ago
- Time of India
Rabindranath Tagore's only known sculpture sells for Rs 1.04 crore in auction; set of 35 handwritten letters fetches Rs 5.9 crore; rare works shed light on poet's emotional world
Rabindranath Tagore's only known sculpture, 'The Heart,' believed to be dedicated to Kadambari Devi, fetched over ₹1 crore at a Kolkata auction. A set of 35 letters from Tagore to sociologist Dhurjati Prasad Mukerji sold for ₹5.9 crore. Created in 1883, 'The Heart' features a poignant Bengali inscription. KOLKATA: 'The Heart', the only known sculptural piece attributed to Rabindranath Tagore, was sold for Rs 1,04,52,210 at an auction in the city on Friday. Its estimated price was between Rs 55 lakh and Rs 70 lakh. According to auction house AstaGuru's 'Collectors' Choice', the sculpture is believed to have been dedicated to Kadambari Devi, wife of his brother Jyotirindranath. At the same auction, a set of 35 handwritten letters and 14 envelopes sent by Tagore to sociologist Dhurjati Prasad Mukerji between 1927 and 1936, fetched Rs 5.9 crore. The estimated bidding price of the set was between Rs 5 crore and Rs 7 crore. Tagore was only 22 when he sculpted 'The Heart' in 1883 during a contemplative retreat in the coastal town of Karwar in Karnataka in the company of his brother Satyendranath and sister-in-law Jnanadanandini Devi. On it, he engraved in Bengali — 'Having cut my heart of stone,I have engraved (the words) with my own hand. Will it ever be effaced by the flow of tears?' You Can Also Check: Kolkata AQI | Weather in Kolkata | Bank Holidays in Kolkata | Public Holidays in Kolkata In 1941, a photograph of the sculpture was published in 'The Calcutta Municipal Gazette'. The caption mentioned it as a 'piece of quartzite stone cut in the form of a heart by the poet's own hands and the verse composed and engraved by him... It was presented to his friend, the poet Akshoychandra'. Akshoychandra Chowdhury was a classmate of Jyotirindranath. 'This emotionally charged and deeply personal object not only expands the understanding of Tagore's artistic practice but also offers a rare glimpse into his inner world during a formative period. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Trading CFD dengan Teknologi dan Kecepatan Lebih Baik IC Markets Mendaftar Undo Preserved in a russet pouch, this intimate object reveals a lesser-known dimension of the Nobel laureate's creative life: a brief foray into sculpture infused with emotional vulnerability. Seen by many as a gesture of unrequited love, the sculpture transforms inner grief into form—bearing the emotional weight of a young Tagore's private longing, etched forever in stone,' said Manoj Mansukhani, CMO, AstaGuru Auction House. Akshoychandra passed on the piece to his daughter, Umarani, who subsequently gave it to her daughter, Debjani. Painter Atul Bose was married to Debjani, and the piece was in their care until its re-emergence for public appreciation when it was exhibited in Kolkata in 2024. 'Any piece by Tagore, be it a sculpture or a letter, is priceless. It does not surprise me that they fetched a high value. Though it is completely the prerogative of the owner to decide where they want to keep it, I would personally love to see them in museums where the public has a chance to view them. People should be able to read letters written by Tagore or see a piece sculpted by him. Though I belong to the family, I believe Tagore belongs to humanity,' said Sumanto Chattopadhyay, great-great-grandson of Satyendranath Tagore. The letters that Tagore sent to sociologist Mukerji offer deep insight into the poet's creative evolution, philosophical reflections, and transition from literary to visual expression. 'The result is especially significant considering the lot was not a visual artwork but a manuscript-based archive and yet became the second-highest price ever achieved for a Rabindranath Tagore creation at auction,' Mansukhani said.
Time of India
17 hours ago
- Time of India
'Wives should first learn how to make a home': Kishore Kumar divorced first wife Ruma Ghosh as she pursued a music career, cared for ailing wife Madhubala until her death
One of the most iconic singers of Bollywood in the 1970s, Kishore Kumar often made headlines for his family life and failed marriages. The legendary playback singer was married four times, and he once opened up about these well-known relationships. Kishore Kumar about his marriage with Ruma Ghosh At just 21, Kishore tied the knot with Bengali actress Ruma Ghosh, and they got divorced in 1958. Kishore talked about their marriage in an old interview with The Illustrated Weekly of India. 'She wanted to build a choir and a career. I wanted someone to build me a home. How can the two reconcile? You see, I'm a simple-minded villager type. I don't understand this business about women making careers. Wives should first learn how to make a home. And how can you fit the two together? A career and a home are quite separate things. That's why we went our separate ways,' he revealed. Did Kishore Kumar dump Madhubala after knowing her illness? Kishore Kumar about Madhubala's demise In 1960, Kishore married actress Madhubala. Madhubala suffered from a congenital heart condition, and after her demise, he got married again. Kishore stated that he knew she was ill before marrying her. He fulfilled his promise by making her his wife even though he knew she was dealing with a congenital heart problem. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Costco Shoppers Say This Wrinkle Cream Is "Actually Worth It" The Skincare Magazine Undo He took care of her for nine long years. 'She was such a beautiful woman and she died so painfully. She would rave and rant and scream in frustration. How can such an active person spend nine long years bedridden? And I had to humour her all the time. That's what the doctor asked me to do. That's what I did till her very last breath. I would laugh with her. I would cry with her,' he stated. Kishore Kumar and Yogeeta Bali's marriage Kishore's third marriage was to actress Yogeeta Bali in 1976, and they ended their marriage in 1978. 'That was a joke. I don't think she was serious about marriage. She was only obsessed with her mother. She never wanted to live here,' he said. Kishore Kumar's marriage with Leena Chandavarkar In 1980, Kishore found companionship with actress Leena Chandavarkar, with whom he remained until his death in 1989. He spoke of her with warmth and empathy. 'She too is an actress like all of them, but she's very different. She's seen tragedy. She's faced grief. When your husband is shot dead, you change. You understand life. You realise the ephemeral quality of all things. I am happy now,' he said. Kishore Kumar passed away in 1989 following a heart attack.
