Analyzing Life, Feminism and Melodrama in Ritwik Ghatak’s Cinema: Meghe Dhaka Taara and Subarnarekha

What takes a clapped star to peep out within the society? An obsession, a must-defy to the uncontrollable surroundings and someone known as Nilkontho, who had been canopied by natural proximities in his life span, yet the better of them were the effects of life and its action. Does it seem typically unstructured for the first paragraph?  Or, unable to mention the existence of Nilkontho, isn’t the unpolished sculpture of an aspiring Raphael?  Let’s term out the co-relation between life and its action. Life on one hand is driven by Hegel’s logics and the logic has been explained to be concerned with cognition, which is life; this raises an obvious posture towards the dilemma- does life really work on logic or not? Remember the 1943 Bengal famine? Or, the nuclear fission of that part, later in 1947(metaphorically)? Where does logic apply to those events? It is action (logical or not) that destines life in a relative manner and this co-relation defines Nilkontho, better known as Ritwik Ghatak. The appreciation of his films through the analysis of Life, Feminism and Melodrama present in his form of Cinema shall be stated in this paper to get a closer revelation of his filmmaking mannerism.