Durga Puja has always had a unique cinematic quality. The lavish clay idols, the rhythmic beats of the dhaak echoing through the night, and the city ablaze with pandals have been an irresistible backdrop for filmmakers over the years. On screen, the festival transcends being just a seasonal event and becomes a poignant emotional, cultural, and sometimes political punctuation. It serves as a mirror reflecting the characters and the society they inhabit. The portrayal of Durga Puja in cinema has evolved from a reverential spectacle to a metaphorical commentary, reflecting changes in cinema’s relationship with myth, ritual, and modernity.
In early Bengali films, Durga Puja was depicted as the essence of communal life. Bimal Roy’s “Devdas” (1955) captured a moment of festivity during the Durga Puja celebrations at Paro’s house, juxtaposing the grandeur of the goddess with Devdas’ inner turmoil. Ritwik Ghatak took it further, using Durga Puja imagery to symbolize displacement and yearning in “Meghe Dhaka Tara” (1960). The sound of dhaak blended with the protagonist’s cries, blending festivity with tragedy. For Ghatak, the goddess symbolized resilience and sacrifice, much like his female characters grappling with fractured families post-partition.
The aesthetics of Durga Puja on screen often mirror the essence of cinema itself. Both are grand spectacles designed to overwhelm the senses and immerse the audience. A pandal resembles a film set – meticulously crafted, temporary, and ephemeral. The immersion of the idol mirrors the rolling of end credits, dissolving the constructed world. Filmmakers have long been drawn to this parallel.
Satyajit Ray, in his documentary on Benode Behari Mukherjee, filmed Puja immersions with an abstract art approach, focusing on textures and sounds over narrative. Goutam Ghose’s “Antarjali Jatra” (1987) juxtaposed the festival with widowhood rituals, exposing societal hypocrisy. Aparna Sen’s “36 Chowringhee Lane” (1981) used Puja glimpses to highlight an Anglo-Indian woman’s alienation. The pandal lights symbolize inclusion, accentuating the protagonist’s isolation.
In contemporary cinema, Durga Puja is a tool to explore identity and urban life. Rituparno Ghosh’s “Utsab” (2000) showcased generational conflicts during Puja celebrations. Pradeep Sarkar’s “Parineeta” (2005) staged a crucial confrontation amid Puja festivities, paralleling the heroine’s agency with the goddess’ immersion. In “Detective Byomkesh Bakshy!” (2015), Puja marks a chaotic wartime Kolkata, heightening the city’s unrest.
In early Bollywood, religious rituals were broadly depicted for mass appeal. Durga Puja symbolized good triumphing over evil, as seen in Raj Kapoor’s “Jagte Raho” (1956). The 1990s and 2000s saw a detailed portrayal of Durga Puja in mainstream Hindi cinema. Sanjay Leela Bhansali’s “Devdas” (2002) showcased an opulent depiction of the festival, with the “Dola Re Dola” sequence emphasizing female empowerment.
Sujoy Ghosh’s “Kahaani” (2012) offered a unique take on Durga Puja, intertwining the goddess’ symbolism with a modern-day woman’s struggles. The immersion of the goddess served as a metaphor for confronting patriarchy and betrayal. Durga Puja’s representation has extended beyond Bengal, as seen in “Lootera” (2013), where the festival is portrayed with a melancholic intimacy.
The cinematic representation of Durga Puja reflects the intersection of tradition and commerce. While corporate sponsorships increasingly fund pandals, cinema uses Puja as a spectacle to attract audiences. Filmmakers balance grand depictions with intimate portrayals, like in Kaushik Ganguly’s “Bishorjan” (2017), which transcends political boundaries through shared culture.
Srijit Mukherji’s “Uma” (2018) constructs a unique narrative around a summer Durga Puja for a dying child, emphasizing the communal act of make-believe. “Asur” (2020) places Durga Puja at the core of its story, intertwining rivalry and devotion. The festival becomes the heartbeat of the narrative, echoing human destiny through the strokes of clay. Durga Puja embodies contradictions – communal yet personal, abundant yet fleeting, celebrating victory and mourning departure. Cinema thrives on such contradictions, with Puja offering filmmakers a vibrant canvas of color, music, movement, and meaning.