The Reflection of Sub Continental Primitive Archetype Mother in the Films of Ritwik Ghatak

The Reflection of Sub Continental Primitive Archetype Mother in the Films of Ritwik Ghatak

Ritwik Ghatak is one of the significant Indian filmmakers in the Indian subcontinent. The touch of the culture of Bengal is clearly evident in the films of Ritwik Ghatak. Before analyzing the role of the primitive mother archetype in the scenes or in the development of the characters in his films, it is necessary to understand the origin of the primitive mother archetype.

The primitive mother archetype or maternal form is the statements, figure, myth, pattern, form, use etc. which has been existing in any culture for a long time. For example, the form of 'Mother' in Bengal is worshiped as Jagajjanani or Mother Earth. Her name is ‘Jaggadatri’ becauseshe is holding or taking care of the whole world. Her name is 'Kali' when she appears to defeat evil and to establish the power of good in the times of suppression of the wicked and in the times of observance of the rituals. When it comes to fulfill the wish of the devotees by destroying all their misery, she is called then by the name of Durgatinashini Durga. Her names and forms are endless. In various ways, these images appeared in different forms or patterns amidst of us. The origin of the mother wasexpressed by using different statements like 'Basanti', 'Durga', 'Jaggadatri', 'Kali', 'DurgitanisiniDurga' at Bengal in this sub-continent.

Now let's come to the point of the effect or the use of Mother Archtype in the characterization in the Ritwik Ghatak’s films. Let's see how the matter is clear in some of his own words. In an interview regarding 'Megha Dhaka Tara' taken by Chinmoy Mutsuddi in which Ritwik Ghatak said, “’Nita’ is the most beloved among my characters till date, I have imagined her as a symbol of the hundred years old Bengali Gauri Dan. Her birthday is celebrated in Jagaddhtari Puja, and she reunites with the Mahakal / time and space in the death. "

This means, the great influence of mother archetype in the characterization of the character of ‘Nita’. It is possible to make a great deal of analysis on this effect by analyzing scenes, dialogues or stories.

Besides that, Dr. Gurudas Bhattacharya writes in the book ‘Ritwikamangal’ - "the girl Seeta in “Subarnarekha” screams out of fear when a mask-man comes in front of her suddenly. According to the director, "The whole civilization is facing this horrifying darkness today - the crisis, life faces death, its image, its scream". The director of frustration believes in restoration. In his opinion the way of this is: for love (Neeta) for art (Anusua) or in the form of life (Seeta). That day, Kali will come in the form of Uma, golden light will be spread removing the darkness away. "

For the readers kind attention, it clearly shows from the statement of the RitwikGhatak, that every female character holds the shadow of the original maternal form of Bengal.

In another interview in the same book 'Ritwikmangal', the film director and organizer Muhammad Khasru told the directorRitwikGhatak - 'Some of the characters are expressed in the Archetypal Symbol in your films. You are particularly influenced by the psychoanalyst Yung's collective unconsciousness. So the characters of your films like 'Meghedhakataara’sNeeta', Gauri, '”komol Gandhar”s Shakuntala', Anusua, “Subarnarekha’s Seeta’smother, Seeta and the maid of king in Titas are made in the form of Vagabati.

Now –

• To understand how the social and political status of woman is developed under the influence of the mother archetype in Ritwik’s film.
• To find out how the form, pattern and treatment of the mother archetype develop a woman-character

&

• To explore how the symbolic significance of the mother archetype works as sub-text of the film.
  
  That is the main theme of the whole paper.