Shesh Uttar (1942)
Director: P.C. Barua; Writer: Shashadhar Dutt; Producer: P.C. Barua; Cinematographer: P.C. Barua; Editor: Kali Raha; Cast: Kanan Devi, P.C. Barua, Ahindra Choudhury, Jamuna, Ratin Banerjee, Devbala, Jahar Ganguly, Krishna, Ranjit Roy, Umatara, Jogesh Choudhury, Bikram Kapoor, Tulsi Chakraborty, Biman Banerjee, Amal Sengupta, Satya Mukherjee, Shashti Mukherjee, Indrajit Lahiri, Swaraswati
Duration: 02:07:42; Aspect Ratio: 1.333:1; Hue: 59.939; Saturation: 0.015; Lightness: 0.199; Volume: 0.135; Cuts per Minute: 3.821; Words per Minute: 86.410
Summary: Barua's last major film continues his concern with the fortunes of an aimless feudal upper class (
Devdas, 1935;
Mukti, 1937). The rich, self-absorbed and deranged Manoj (Barua) is sent to his future father-in-law for a rest cure. However, he loses his way and is offered shelter by a railway station-master with whose daughter he falls in love with. The poor, earthy and worldly-wise Meena (Kanan Devi) is contrasted with the hero's rich fiancee and strident feminist Reba (Jamuna) and the eventual confrontation between the two women provides the justification for Manoj's decision to marry the former. The original story was written as a rejoinder to Saratchandra's
Shesh Prashna, attacking his alleged feminism. The film established Murlidhar Chatterjee's new company as one of the foremost producers of socials in Bengali cinema. The Hindi version included classic Kanan Devi numbers such as
Toofan mail and
Kuch yaad rahe to sun kar jaa. The famous song in Bengali was
Ami bonophool go.
Release date: 25 September, 1942(Sree, Purabi, Purna)
censor certificate
M. P. Productions would go on to become one of the major production houses of the decade with successful films to their credit both before and after 1947. The Chairman of the company, Muralidhar Chattopadhyay also happened to be the President of the Bengal Motion Pictures Association (BMPA). 'Shesh Uttar' is more important now perhaps because it is P.C. Barua's last major work; he mostly freelanced thereafter. Made after his resignation from New Theatres after having made a string of iconic films with them, it is also the last surviving film directed by him and stars Kanan Devi who was a huge star at the time. The title is significant; it translates to 'The Last Answer' which is allegedly a response to Saratchandra Chattopadhyay's 'Shesh Prashna' ('The Last Question') and its feminist ideas.
The train is a significant metaphor in the film, right from the first shot. It is a much-discussed symbol of modernity, that has nonetheless been inscribed within the traditional social imagination, as seen in the proliferation of fiction with the railways as a crucial setting. This is offset by the fact that many members of the aristocracy are its passengers, and their vapid lives have been objects of constant critique in Barua's work. 'Shesh Uttar' is circumscribed within this complicated interface of tradition and modernity.
Kanan Devi was the major female singing-star of the time and 'Shesh Uttar' is majorly remembered for her iconic songs 'Toofan Mail', and later, 'Ami Bonophool'. Sung in her typical fast tempo, the song continues the metaphor of the train and the spread of western modernity. However, while the song mimics the tempo of the rushing train, the lyrics comprise of references to names from fairytales and local stories as the places through which the 'Toofan Mail' runs. Throughout, shots of Mina singing are intercut with shots of the train, foregrounding how she will be associated with a similar sort of modernity that is in constant dialogue with tradition.
Barua makes a strong case for tradition in his narratives, especially in the characterization of his women. Mina is the ideal mix of tradition and modernity; while she writes poetry she is equally adept at handling the daily activities of the station and this is one argument that the film will constantly reiterate.
Manoj is from the aristocratic class but has some sort retrograde amnesia; he belongs to the upper-class but is also an outsider, something that enables the possibilities of movement across the class-lines for him. This trope is essential for Barua to articulate the criticism of the indolent upper class in the film. Thus Manoj is both an object of criticism and ridicule while also being one of the critics.
The importance of Mina writing poetry has already been discussed. The poem he reads out, interestingly, alludes to their future relationship, referring to his tendency of forgetting things.
An interesting counterpoint to the upper-class in most of Barua's films are the lower-classes who often do not have conventions or social strictures to adhere to - this is notable in films like Devdas, Mukti and Adhikar. Here, the lineman Bhikhu sings a drunken song about his wife and his in-laws in whose house he will be accorded with a lot of respect - the song pokes fun at upper-class notions of respectability even though it is played for laughs.
Rai Bahadur Keshav Dutta's house in Allahabad where Manoj was headed before he stepped off the train. 'Rai Bahadur' was a honorary title often bestowed upon individuals who had performed great service to the nation during British rule. While it was somewhat equivalent to an OBE, the term had major pejorative connotations especially during the Nationalist Movement because the individuals who won it were seen as having pledged their allegiance and support for the British. In 'Shesh Uttar' the Rai Bahadur represents the most elite members of society who lead fruitless lives in pursuit of useless excesses.
His obsession with the security systems and the various quirky machines that he has installed in his home speaks of both this aimless lavish lifestyle and the constant paranoia regarding invasion within this carefully constructed environment. The aristocratic class is a subject of perennial critique for Barua and is a central element of the narrative of 'Shesh Uttar' as already discussed. This need for security and assurance is a recurrent feature of the critique.
As mentioned already, Manoj's illness makes him a liminal entity even within his own class. The qualities Mina associates with him are expressions of that, things that make him stand apart from his class identity and makes mobility across class boundaries possible.
However, at the same time many of these redeeming qualities are also responsible for making Manoj seem almost infantile. In the beginning of the scene Mina is seeing separating the bones from the fish for him, a gesture clearly used to underline this childike nature of his character. His demands also foreground his hitherto pampered, sheltered lifestyle.
They are speaking at cross-purposes here. While Manoj's comments are in appreciation of the simple food Mina has cooked for him unlike the spicy food he is used to, she thinks it to be barbed comment on their poverty.
Manoj is betrothed to marry Reba, the daughter of the Raibahadur. It is also not something he really cares about given how flippantly he dismisses it as his father's last idea. For him, the shift from his mother to the wife-to-be is merely a shift from one woman who takes care of him to another, in keeping with the infantalised image one of the male protagonist.
In fact, in lieu of Reba, and with the mishaps concerning the missed train, Mina has effortlessly taken over the role of Manoj's primary caregiver within the space of a day.
One must reiterate that the critique of the aristocracy works also through Manoj's character, his demands reaffirming the image of the aristocracy that had been evoked by the Raibahadur and his various machines, locks and alarms. All the qualities that Mina had enumerated and which made him innocent and childlike thus also serves to further the nihilistic image of the upper-class that is central to the film.
Mina's song borrows elements from both the generic love song and the lullaby to underline this duality in Manoj - he is both the male protagonist as well as the childlike figure.
Reba is a feminist and is part of an organisation called Society for the Prevention of Cruelty to Women. Barua's critique of the feminism practised by Reba is tied to his critique of the aristocracy too. In a way the two women occupy polar positions in this critique with Reba acting as a counterpoint to the traditional idea of the womanhood represented by Mina.
To underline this difference, Mina's song, the iconic 'Ami Bonophool' ('I am a wild-flower'), is in direct contrast to the last line of Reba's radio speech. Reba ends with how modern women do not wish to be considered as wild-flowers anymore while Mina's song reaffirms the metaphor.
The Raibahadur's security measures, as seen before, quite frequently turns on unsuspecting people. These scenes, though played as comic interludes, continuously reaffirm the scathing indictment of the whims and caprices of the upper-class.
Mina's hesitation and her inability to instantly answer Manoj's questions highlight her growing feelings for him. This has been variously hinted at before, especially in Mina's earlier appraisal of Manoj to her grandfather.
There are multiple instances such as this where Mina is termed as not quite a woman. Her grandfather had earlier called her a man due to her efficiency. Here, Manoj, moved by her hospitality, deems her to be pure, almost divine. Unlike Reba, who is critiqued because of her feminist ideals, Mina's feminity is constantly brought to question and defined according to various constantly changing yardsticks.
Nathu is talking about Reba and from his vantage point the narrative equates her feminist beliefs with the privileges of the upper-class.
Mina's grandfather correctly identifies her state of mind; she is upset about Manoj leaving.
The scene, given the logic of the narrative, seems to have been misplaced. In the earlier scene, they have talked about Manoj leaving the day after. This scene takes place on the day of his departure. It is followed by a song and the very next scene is again set on the same day when Nathu arrives. This episode, where they speculate on remembering and forgetting is indicative of the dramatic conflict that will take centre-stage in the second act of the film.
Mina's song continues the theme of their earlier conversation, that Manoj might possibly forget about his stay there.
This scene takes place on the eve of his departure just after Nathu has left and Manoj is angry that Mina has decided he will leave the next day. As already noted above, the previous scene and the song are supposed to have taken place on the day of his departure. This sudden return to the night before suggests perhaps a misplacement of scenes. Though an argument can perhaps be made regarding how this could have been a deliberate narrative trope, given the more or less linear nature of the narrative that would seem a little far-fetched.
Manoj has decided to leave without telling Mina. Her grandfather plans to delay the train to let Mina talk to him before he leaves.
Manoj's departure also signals the end of the first act. Much like the opening scene, the train plays a major factor in the scene, and the image of Mina desperately running after it is a potent visual metaphor for separation.
While the Raibahadur is one facet of the critique of the upper-class, the barrister Barin, one of Reba's suitors, represents another facet - the shallow, callous man who would rather borrow heavily at absurd rates of interest in order to sustain the illusion of wealth. His nature is inherently speculative and predatory, he wishes to marry Reba for her wealth. However, his general ineptitude throughout the film renders him neutral and into an object of ridicule.
In the film Reba's feminist and liberal outlook is foregrounded by her many fawning suitors and how she treats them with near disdain and utter disregard. One of the most problematic characterisations in the film, Reba's flippant and dismissive attitude towards her adoring suitors is used constantly in the narrative to underline its arguments against western feminism. The assertion is straightforward: her suitors 'worship' her and she in turn revels in being worshipped.
Reba refers to the soldier, quite dismissively, as 'Glaxo baby'. Glaxo (at present GlaxoSmithKline) was a baby food manufacturing company, established in 1904 in New Zealand, whose iconic tagline was: 'Glaxo builds bonny babies'. One of their most well-known products, which is also intricately connected to Bengali bhadralok and middle-class iconography, is the health-drink Horlicks.
Reba's outlook and mindset is thus used to make a scathing critique of western modernity, at least of its effects on tradition and the role and position of women in society. Manoj is the ideologue of this critique and, as we begin to realise, Mina is the primary counterpoint.
In fact, what further adds to the critique is Reba's tendency to be uncompromising and petulant, unused to be reprimanded or corrected. There is also a remarkable difference between the Manoj of the first act and that of the second - barring a few stray references to his mental health in their conversations, Manoj here explicitly emerges as a corrective, authoritarian figure.
Reba, on her part, is seen falling for Manoj's authoritarian and conservative outlook. The narrative sets this up gradually like a contest and the hard close-ups, a Barua fixture, highlight this clash of wills.
The criticism directed at Reba also takes into account certain everyday appropriations of western influences - for instance, Manoj becomes decidedly irate when faced with the prospect of sitting at a table for lunch instead of the more traditional practice of sitting on the floor.
One inevitable consequence of this clash of wills and beliefs is the constant evocation of Mina and of Manoj's time spent with her, especially in similar situations with Reba. This will become a recurrent trope used to further highlight the differences between the two women. The sequence where Manoj requests Reba to sit with him while he eats, and later, his requests regarding music immediately gesture towards similar scenes with Mina not too long ago.
One narrative implication of this constant comparison between the two women, both explicit and implicit, is the intended love triangle. Constant praise from Manoj about Mina makes Reba jealous and she attempts to perform similar roles for Manoj - like, when she forgoes the gramophone and sings for him.
Barin has been conceived of as more of a caricature of some of the most deplorable traits of the upper-class and the narrative does not pull back in exploring this. His love for the near-mythical 'bilet' (England mostly, but for the colonised the term would be more freely used) is one facet of the ridicule directed at him and here Manoj is the one who articulates it.
Through Barin's marriage proposal to Reba the scene ridicules the bhadralok codes of romance and courtship. Reba, much like before, encourages his exaggerated poetry. The artifice in his motives and manner is foregrounded by how he cannot sustain the lofty Bengali he starts off with.
One of the reasons for Reba's refusal to marry Barin, perhaps the most important, is that she wishes to marry a 'man's man'. Her reasons and her accusation that Barin is almost feminine in his approach foregrounds the idea of an essential Bengali masculinity that will be forceful and authoritarian, something she has come to love in Manoj.
One of Barin's complaints against Manoj is that he is old-fashioned and thus unfit for society. Reba's counter-argument is that this is the most fashionable trend of the time. The Nationalist Movement, in fact, had stressed on the evocation and return of tradition in every facet of life, including clothes, etiquettes and behaviour.
Barin's parting comment to Reba about old friends being better ironically foregrounds Manoj's fond memories of Mina too. Reba's answer about new toys being better is indicative of her own belief in being able to control Manoj.
Mina had assumed that the money Manoj had left for them had been his way of paying them back for their hospitality. Her grandfather, however, understands the real reasons behind her anger.
Tulsi Chakraborty plays the dewan of Manoj's estate, in one of his early supporting roles before he became popular as one of the leading comic actors in Bengali cinema.
Having been thwarted in his marriage proposal Barin's primary function henceforth will be to articulate dissent and slander, especially regarding Reba's growing fondness for Manoj and the latter's odd nature. The reference to 'ambal' or indigestion is significant. Barua had famously plotted a whole narrative around indigestion as a central theme in his celebrated comedy 'Rajat Jayanti'. 'Ambal' refers exclusively to the bhadralok tendency of being unable to tolerate even the slightest of imbalances in their moral codes; the famous 'ambal home' of 'Rajat Jayanti' had been a symbolic referent of the strictly regimented and organised project of self-fashioning among the bhadralok. Manoj is directly in opposition to the impulses of such a project.
Barin's love for the near-mythical 'bilet' (here, England) is expressed in his startling claim that there are no villages abroad, only cities and a very upscale lifestyle.
The reference to 'ambal' yet again foregrounds the possibility that Reba might be susceptible to straying from the bhadralok project due to Manoj's influence.
Despite Barin's exaggerated reactions and attempts at discrediting Manoj, his hopes are dashed for good when the Raibahadur tells him that Reba will definitely marry Manoj.
Barin's comment, though meant to be a innuendo on their alleged relationship, in fact refers to the gradual changes in Reba that we have discussed.
Barin, unable to do anything to sway Reba or her father from their decision resorts to threatening Manoj with murder in order to make the latter leave. Barin is not a classical antagonist of melodrama; he has thus far been used as a figure of ridicule or laughter, sometimes together. His sudden transformation into a more dangerous character thus remains implausible and the scene plays on the improbable nature of such an occurence by simultaneously evoking Manoj's mental illness and his need to write down the threat too.
It is to be noted that, in the rest of his scenes, Barin's character will be decidedly more grey than he has been thus far. It serves to drive home the possibility that violence bourne out of desperation is an intrinsic aspect of such a social system. Barin is deep in debt and will resort to any means to marry for money - be it force, threats or blackmail. His constant references to Reba 'and her kind' as flighty, fickle, selfish and opportunistic is both an attempt to justify his actions and an expression of the social perception of the liberal feminist ideals that Reba represents.
Manoj becomes ill after losing his control with Barin and this possibility that such lapse of control again can do him immeasurable good or bad is a narrative trope that will govern the rest of the film.
Reba's accusations against Mina and her suspicions regarding the alleged shamelessness and greed of the poor is countered by the very next scene where Mina returns the wallet to the manager of Manoj's estate. These three short scenes are an instance of the stereotypes prevalent about the lower-clases among the rich. At the same time, it is obvious that Reba's anger is at least partially borne out of her envy of Manoj's devotion to Mina.
Much like their first meeting, Manoj has again got off the train to meet Mina on his way to the new house at Bakipur. This, along with the fact that his sister Sikha sees them together, sets the stage for the final act when the two worldviews and ways of life represented by Mina and Reba come up against each other.
The close-up shot foregrounds the possibility that Reba might have other motives in wanting to meet Mina.
Mina perhaps understands Reba's desire to meet in someplace private. The reference to the surname 'Devi' is significant here. Traditionally any upper-caste woman could assume the title 'Devi' (goddess) while lower-caste women had to use the title 'Dasi' (servant-girl). These were titles only. In Bengal, many courtesans and actresses of the time also assumed the title 'Devi' later as a sign of respectability, especially after having become successful - Kanan Devi herself for instance. Here, though the reference to 'Devi' alludes to the class difference inherent in the title it also curiously highlights the wider sociological and historical implications of the same.
Reba, quite expectedly, insults Mina, insinuating that the latter is after Manoj for his wealth.
Manoj's reaction to Reba's actions ties in with the climactic nature of the scene. His suprise gives way to anger and the dramatic tension is heightened by a series of rapidly cut shots, parallel cuts of a close-up of Reba's face and gradual close-up shots of Manoj's shocked and angry face, which then instantly cuts to the speeding wheels of Manoj's car.
As the doctors had warned, Manoj has not been able to take the stress of his confrontation with Reba over the latter's behaviour and his brain has gone into shock.
Scenes of Manoj calling for Mina in desperation are intercut with Mina having a strange feeling that someone is calling out to her and she sets out for Manoj's house. The parallel cuts heighten the dramatic tension of the sequence and also establish Manoj and Mina's love for each other as Mina arrives at Bakipur.
The Raibahadur's behaviour, especially his exaggerated reaction to the mention of 'bilet' or England, mimic Barin's earlier reaction. At the same time, there is a hint of insecurity in the way he seeks to confirm that Manoj will indeed marry Reba, especially after Mina has nursed him back to health.
The first sequence after Manoj has been completely cured. To highlight this fact, his behaviour is excessively formal unlike before and he has also stopped calling Mina 'Mastermoshai', something she too notices. Besides, he apologises for his earlier actions and wishes to know all that he has done. The improved state of his mental health has also seemingly put him back within the moral code of his class, made clear by the reference to his impending marriage to Reba.
Having come to terms with the decision he must make, Manoj goes and talks to Reba. Interestingly, they never mention marriage and family, instead talking through hints and questions; it acknowledges the reality of their situation while simultaneously deferring it.
Short scenes that highlight the varied reactions of the people around Manoj and Reba regarding their marriage. While her father is still apprehensive about Mina's influence on Manoj, his mother and sister have understood that his decision to marry has to do with the promise made to the Raibahadur by his father.
Typically, it is the lower-class man, Manoj's servant Nathu, who voices the question in everyone's mind. Nathu's function, though not entirely elucidated in the narrative, is choric in many ways, such as it is with many of the characters from the lower-class in the film, like Bhikhu the lineman for instance. In fact, the very next scene has Bhikhu commenting on the issue in much the same manner as Nathu.
Manoj reassures the Raibahadur of his intensions. Interestingly, he does not acknowledge or deny his feelings for Mina when asked, instead saying he will do his duty even if the heart desires something else.
There is a suggestion here that Reba has ulterior motives in inviting Barin there, especially considering how Barin and Manoj had last parted ways.
Manoj's words on the need to become old-fashioned inevitably reminds one of Reba's earlier defense of his old-fashioned nature as the most fashionable trend of the time.
The truth about Reba's intensions are revealed when she admits to Barin that she had invited him to get a job done, and how she had been trying to ellicit a reaction from Manoj in the earlier scene.
Reba's plans have been working perfectly, considering how both Manoj and his mother have been bothered by Barin's presence there. Reba's repeated references to whether Manoj has changed his mind about the marriage also suggest that this is exactly what her plan is all about.
Much like the earlier scene with Nathu and Manoj, this scene with Bhikhu and Mina has the former almost like a choric character reacting to the action.
Reba's story is obviously a metaphor for herself, Manoj and Mina. Her response to Mina underlines how she has gradually assumed control of all their lives and that the conclusion of the story - both the real and the metaphorical - lies with her.
Scenes of Manoj's angry reaction on catching Reba and Barin are intercut with scenes of Reba paying Barion off and then throwing him out of the house. The scene serves to confirm that Reba's plan had been to force Manoj to call off the wedding.
'Shesh Uttar' in many ways also charts Reba's gradual transformation into the ideal notion of the woman that Mina represents. Her sacrifice in order to unite Mina and Manoj provides a sense of closure to that arc. As mentioned in the first annotation, one impulse behind the film had been a direct response to 'Shesh Prashna' and its feminist concerns. Reba's transformation is symptomatic of that.
The shot of the painting on the wall, with a scene depicting 'gopinis' taking Radha to Krishna, directly alludes to the song and the scene that ensues. Reba is preparing Mina to take her to Manoj's house and the engagement ceremony in much the same way and the song too is about Radha preparing to go meet Krishna.
Reba's final words are directed both at the people gathered in the room and the audience; it reaffirms the idea of transformation we have discussed above. The scene too is framed accordingly with the entire monologue delivered over a close-up shot of her as she explains her actions and bids goodbye. Significantly, she is the last person to speak, as she is inextricably linked to the notion of a response to the double-bind of tradition and modernity (we have discussed this in the context of the train in the second annotation) that structures the narrative of 'Shesh Uttar'.
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