In spite of the extreme depictions of the social classes, the idea itself is transparent the rich are ruthless and care for no one but themselves, and the poor scrape by on crumbs. While the poor, religiously bearing hearts of gold, immersed in tragedy but eternally hashi-mukh (always smiling), despite the hard work they endure on a daily basis, not to mention their iron-clad sense of dignity.

The rich are, without fail, evil, narcissistic, and arrogant to the core, taking advantage of and looking down at the poor from their duplex mansions, sneering in their glitzy typecast rich people attire.

Think about it, the borolok, aka the bourgeoisie, and the gorib, aka the proletariat, locked in an eternal battle of heroism and villainy. All of which, apparently, happens to be the prerequisite to writing a script for Bangla films. At the heart of this ideology is the objective to abolish the division of classes, eradicate the exploitation of the working class and overturning the capitalist regime. It is a political, social, and economic theory in the namesake of German philosopher Karl Marx. But just for the sake of hitting refresh, in the simplest of terms, Marxism deals with class conflict, social hierarchy, and the severely unequal distribution of wealth that is prevalent in our society. Now, Marxism is an ideology most people are well-acquainted with. Their works have influenced people on a global scale, and spark conversations to this day.For all latest news, follow The Daily Star's Google News channel. Lands plagued with poverty, famine, and the aftermath of war held stories in every nook and cranny of a new land. The experiences of the people, whether told through the nihilistic approach of Mrinal Sen, the piercing reality of Ritwik Ghatak or the humane qualities of Satyajit Ray, document a significant time for the subcontinent. These films went on to define the golden age of Bangla cinema. The contrast is complementary and forces you to gaze back at the poster. His 1965 opus Subarnarekha offers a juxtaposition of playful colours against a more stern portrait. A blue backdrop of a familiar rural scene and complimentary alpona fuse to form a unique look. Komal Gandhar has a spine-tingling feel in its promotional poster.

Posters for Baishey Srabon and Abosheshe also symbolise the profundity of Sen's artistry.Ī friend and collaborator of Sen's, Ritwik Ghatak told the same stories of class struggle, a colonised subcontinent, and melancholy of the masses through a different lens. The typography is a little more grounded and embodies the graffiti that might have been seen on the walls of Kolkata during that era. Similar techniques of Ray's such as collages are used. Rebellious, unsettling, and provoking - the poster for Calcutta 71 is a combination of illustrations and photography. Elsewhere, Mrinal Sen's posters possess the same uncompromising feel as his films.

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