Because of its portrayal of social disintegration, sacrifice, and displacement in Bengal after the partition, Ritwik Ghatak's 1960 film is still considered a classic in Indian cinema. Ghatak is well known for his ability to create emotionally and politically charged stories through his distinctive fusion of melodrama, Brechtian techniques (such as the alienation effect), and mythic implications. His films' use of music as a vital narrative and symbolic element never ceases to enthrall me. Let’s talk about, ‘Meghe dhaka tara’ among the various musical pieces in the film, the Bengali Folk song ‘Gauridaan’ holds a very important place which also symbolizes many emotions like loss, transition, and sacrifice. These songs draw from the cultural memory of Goddess Durga’s departure to her marital home, creating a layer of mythological and socio-political resonance.
Music in Ghatak’s cinema plays a central role as the
language of the cinema, it operates as a bridge between narrative and allegory.
Nita’s individual suffering and her personal struggle with the collective memory
of the partition is pretty evident in the film and the song helped it to make
it even more evident on the screen. With its layered symbolism, the song transforms Nita from a mere character into an archetype,
representing the socio-political realities of the post-partitioning of Bengal. I
would like to explore the use of the folk song ‘Gauridaan’
within Meghe Dhaka Tara, analyzing its thematic significance, cinematic
application, and broader cultural implications. I will also try to critically
analyze how this specific song functions within the films, offering insight
into its role in shaping Nita’s tragic art. I will also try to understand the
symbolization of her trauma. I present a personal interpretation, situating
the song within Ghatak’s broader critique of gendered labor, familial
exploitation, and displacement, concluding with its enduring relevance to a contemporary audience.
Music in Ghatak’s cinema
As repetitively stated how music plays a central role in Ghatak’s
cinema, serving more than mere background or emotional embellishment. As
Paulomi Chakraborty in her article A Critique of Metaphor-Making: Ritwik
Ghatak’s Meghe Dhaka Tara highlights, Ghatak’s use of music is deeply
interwoven with the critique of gender and nationhood. Gauridaan in the film
develops Nita’s role as a sacrificial figure, symbolising the refugee woman
trapped in patriarchal and socio-political constraints. Manisha Das adds that
Ghatak’s eclectic aesthetic combines melodrama with Brechtian alienation,
allowing music to operate both emotionally and critically. The song exemplifies
this dual function by evoking deep pathos while simultaneously alienating the
audience, urging them to reflect on the systemic force underpinning Nita’s
suffering. Ghatak’s films are deeply
rooted in the political and cultural upheavals of mid-20th century
Bengal. The briding of the temporal and emotional gaps between the historical
trauma and contemporary realities is also done by the specific song in the
film. These sonic motifs serve the idea of unsettling effect Ghatak tried to
emphasize through it and also serve as the cultural touchstone, which then
forced the audience to engage with the underlying socio-political critiques
embedded within the narrative of the film.
Now specifically talking
about the song Gauridaan. This song is a Bengali folk song, that recounts the ritual
of Goddess Durga leaving her natal home for her marital household, which states
departure, transition, and emotional upheaval. That is why specifically this
song makes an ideal metaphor in Meghe Dhaka Tara, where Nita’s life mirrors the
sacrificial journey of Durga. Chakraborty further argues that the song
encapsulated the intersection of gender, labor, and sacrifice, themes central
to his critique of participation’s aftermath.
The song’s mythological roots also connect to the nationalist semiotics
of the “nation-mother”. Ghatak critiques this metaphor by exposing its
violence, transforming women into symbols while erasing their own
individuality.
Nita’s character in the film embodies the intersection
of personal tragedy and collective suffering. She sacrifices her education,
love, and health to support her family, and later gets betrayed by them. The song
‘Gauridaan’, recurring at moments of heightened emotional intensity,
underscores this sacrificial arc. The parallel between Nita and goddess Durga
is pretty much evident: both are bound by their roles as caregivers, yet the
sacrifices they make are met with dispossession and isolation. The song’s pivotal
scenes amplify its impact. For instance, when Nita’s health deteriorates due
to overwork and neglect, Gauridaan plays as background score working as juxtaposing her physical decay with the haunting memory of Durga’s
departure. This sonic invocation transforms Nita’s suffering into questing the
patriarchal and socio-economic structures, illustrating how the demands of
labour and duty erase individual agency.
Not only the
soundscape but also the visuals work as a symbiotic way of portraying the wanted theme. The use of stark visual
composition isolating Nita from the fragmented and oppressive spaces complements the song’s mournful tone. This contrapuntal effect created by the
interplay between the sound and the image heightened the audience’s awareness
of her isolation. Where the plaintive melody of “gauridaan’ contrasts with the harsh
realities of her environment. The constant use of diegetic and non-diegetic
sound diminishes the thin line between the internal and the external. This
layered application of the sound states how Ghatak’s hybrid aesthetic of making
film, merges folk traditions with avant-garde cinematic techniques.
I
think this song is a great example of how Nita's situation goes beyond personal
sorrow to symbolise larger historical and cultural oppressions. Throughout the
narrative, Gauridaan operates on multiple levels. By grounding Nita's struggle
in Bengali mythology and ignoring these customs as sites of critique, it evokes
a sense of collective cultural memory. The song not only expresses grief but
also quiet. In my opinion, Gauridaan is a potent call to reevaluate the
cultural and historical narratives that glorify sacrifice without questioning
the conditions that need it. Ghatak's use of the song highlights the
ambiguities of cultural memory, showing how traditions that celebrate
resiliency may simultaneously perpetuate oppression. While it mourns Nita’s sacrifices, it also celebrates
her resilience, framing her suffering as a site of resistance against systemic
oppression.
The
song's multi-layered deployment represents Ghatak's cinematic vision and serves
as a constant reminder of the medium's timeless ability to cite, inspire,
question, and cry. Nita's suffering as well as the historical and cultural
legacies that shape our understanding of human compassion, sacrifice, and
resilience as watchers or listeners astound us. And Ghatak keeps doing this throughout his film
career and his way of filmmaking by putting the song and visual in a symbiotic
relationship to convey something symbolic.