The film Chittagong, directed by Bedabrata Pain revolves around the revolt of 1930 in the town of Chittagong in East Bengal in British occupied India (now in Bangladesh). In the film, the lead protagonist ‘Jhunku’ a young boy of just 14 years takes the viewer through the journey of his life. Jhunku is being groomed by his father and the local British Collector to go for higher education to England and study in Oxbridge and perhaps join the ICS. He experiences betrayal at the hands of Wilkinson, the Collector, whom he trusts to do the right thing. While his trust in the British officer is lost, Jhunku too has to prove his innocence to his peers and sets off on a journey of a lifetime.
The film Chittagong, directed by Bedabrata Pain revolves around the revolt of 1930 in the town of Chittagong in East Bengal in British occupied India (now in Bangladesh). In the film, the lead protagonist ‘Jhunku’ a young boy of just 14 years takes the viewer through the journey of his life. Jhunku is being groomed by his father and the local British Collector to go for higher education to England and study in Oxbridge and perhaps join the ICS. He experiences betrayal at the hands of Wilkinson, the Collector, whom he trusts to do the right thing. While his trust in the British officer is lost, Jhunku too has to prove his innocence to his peers and sets off on a journey of a lifetime.
Master Da (Surya Sen) and his brigade of school going boys plan taking over key institutions of British colonial power in the town. They become successful, but soon with British replenishments coming from outside, they find that unless they retreat, they will be destroyed. A long battle ensues between the teenaged troops of Master Da and the British armed troops. After this, the boys are caught one by one after an Indian intelligence officer, Ahsanullah Khan, is brought in to find the rebels. Many are sentenced to jail at the Andaman Islands (Kaala Paani). The treatment of the boys at the prison is disturbing, though not portrayed in a gory manner.
Apart from the great camera work in the film, what one finds most refreshing is that the actors don’t seem larger than life. One can easily associate with them and identify with their anger towards an oppressive and alien rule. What is also interesting is Master Da’s constant battle with his own conscience on the question of involving young boys in this life and death battle for freedom from colonial rule.
Image Courtesy: http://www.chittagongthefilm.com/
The topic is treated with great sensitivity. One understands the meaning of occupier and occupied; and how age is no deterrent to the love and fight for freedom. People of all religious faiths come together to hide and protect the rebels. Later, when Jhunku is 23, and back from his incarceration, he once again plunges into organising peasants to rebel against their Zamindari and colonial exploiters. The connection to the Tebhaga peasant uprising rounds off neatly the otherwise tragic end of the Chittagong rebellion.
The film touches upon all aspects of the young protagonist’s life, including how his father wishes for him to go
to England and despises the rebels for ‘taking his boy away’, but how subsequently his distaste for the rebels
turns into pride for what his son and his comrades dared to do. I saw the film three times, and each time I took away something new from it. It made me realise that at different points in time, the situation demands the young to come forth and fight for justice and the progress of society. I learnt that some extremely young boys and girls once answered that call, which is essential for today’s youth to know about. I am glad that the director chose to tell us this story and that he ensured that the images weren’t mainstream Bollywood, and yet simple and heart touching.
Website for the film – http://www.chittagongthefilm.com/
For cast and crew visit – http://www.chittagongthefilm.com/thecrew/
Surkhraj Kaur contributes often to Ghadar Jari Hai