Tapan Sinha (2 October 1924 – 15 January 2009)[1] was one of the most prominent Indian film directors of his time forming a legendary quartet with Satyajit Ray, Ritwik Ghatak and Mrinal Sen. He was primarily a Bengali filmmaker who worked both in Hindi cinema and Bengali cinema, directing films like Kabuliwala (1957), Louha-Kapat, Sagina Mahato (1970), Apanjan (1968), Kshudhita Pashan and children's film Safed Haathi (1978) and Aaj Ka Robinhood. Sinha started his career in 1946, as a sound engineer with New Theatres film production house in Kolkata, then in 1950 left for England where he worked at Pinewood Studios for next two years,[2] before returning home to start his six decade long career in Indian cinema, making films in Bengali, Hindi and Oriya languages, straddling genres from social realism, family drama, labor rights, to children's fantasy films. He was one of the acclaimed filmmakers of Parallel Cinema movement of India.[3][4][5]
Charles Dickens's novel, A Tale of Two Cities and the cinematic adaptation featuring Ronald Colman inspired Sinha to get involved in film-making. Tapan Sinha went to London in the 1950s to learn film-making. On reaching London, he contacted CryHearsth, Manager of Pinewood Studios. Through his help, he managed to obtain his first assignment. He got to work in director Charles Crichton's unit as a sound engineer. Cryton, who made some British comedies like The Lavender Hill Mob etc. was then working for a film called The Hunted. Sinha started as a sound recording engineer and gradually shifted to directing.
Tapan Sinha was greatly influenced by contemporary American and British Cinema, in his youth. Among his favourite directors were John Ford, Carol Reed, and Billy Wilder. He used to think that he had to make films on the lines of his favourites. Rabindranath Tagore's work had been a great source of inspiration to him as well. Different Tagore works had special significance to him in various moments of his life.[9]
Sinha's first film, Ankush, is based on the Narayan Ganguly's story Sainik, which had an elephant as the central character.[10] Sinha's Ek Je Chilo Desh is a fantasy film, based on a story by Shankar. He made a few documentaries, including a biographical film on scientist Jagadish Bose. He also used Rabindrasangeet in other films. Sinha's Sagina Mahato might be categorized as a political film, although it was reactionary in nature and was a direct attack on left-wing politics. It tried to disrepute organized struggle by championing the individual heroism of a worker. The Hindi version of the film, named "Sagina", also stars Dilp Kumar as the central character. The film was entered into the 7th Moscow International Film Festival.[11]
In January 2010, the then railway minister Mamata Banerjee, laid the foundation stone of the Tapan Sinha Memorial Metro Hospital, at Tollygunge, Kolkata.[13]
Tapan's works left an impact and influence on Bollywood filmmakers like Hemen Gupta, Hrishikesh Mukherjee, Gulzar,[14]Ashutosh Gowariker[15][16]
and Bengali filmmakers like Raja Sen, Kamaleshwar Mukherjee.[17] His work highly influence and impact and popular culture by Bengali filmmaker Tarun Majumdar and Nowadays, Suman Ghosh (director). While in London, he was exposed to the works of Italian directors Federico Fellini, Vittorio De Sica and Roberto Rossellini. Tapan Sinha has also served as a member of the jury in the popular film festivals at Tashkent and San Francisco among others.[18] Tapan Sinha has been selected for the Dada Saheb Phalke Award for the year 2006 for his outstanding contribution to Indian cinema.
Television career
Aadmi Aur Aurat is based on a story by Prafulla Roy. Amol Palekar and Mahua Roy Choudhury act in this piece. Sinha's telefilm Aadmi Aur Aurat was remade in Bengali as Manush (starring Samit Bhanja and Devika Mukherjee) by the director himself.[19] Sinha made another telefilm Didi with Deepti Naval as the central character.[20][21] Sinha made a detective TV serial Hutumer Naksa.
^Gokulsing, K. Moti; Dissanayake, Wimal (2004). Indian Popular Cinema: A Narrative of Cultural Change (New rev. ed.). Stoke-on-Trent, UK: Trentham Books. p. 17. ISBN978-1-85856-329-9.
^Sharpe, Jenny (2005). "Gender, Nation, and Globalization in Monsoon Wedding and Dilwale Dulhania Le Jayenge". Meridians: Feminism, Race, Transnationalism. 6 (1): 58–81 [60 & 75]. doi:10.1353/mer.2005.0032. S2CID143666869.
^Gooptu, Sharmistha (July 2002). "Reviewed work(s): The Cinemas of India (1896–2000) by Yves Thoraval". Economic and Political Weekly. 37 (29): 3023–4.