MEGHE DHAKA TARA is perhaps on of the most creative and arty movie that one comes across. It is one of life's greatest ironies that Ritwik Ghatak, who is today something of a cult figure in Bengal was so little understood and appreciated during his lifetime. Ghatak's films project a unique sensibility.
This movie literally translated means-the cloud capped star, is really a jewel. The work done is amazing and the film really touches the audience. Meghe Dhaka Tara is strongly melodramatic in tone, especially as concerns the sufferings heaped on the protagonist. As in many of his other films, Ghatak also uses sound effects, and surrealistic sound perhaps is the most amazing part of this movie.
Sound is an integral part of any visual medium. The music used in Meghe Dhaka Tara, is very soothing and calm. A lot of classical music is used and that is what creates the required atmosphere.
The credits in the beginning of the movie, begins with just a classical note being played in the background which gradually moves into beats and then moves on to an ‘alap’ which probably sounds like a beckoning call.
Various instruments are used in this part like tabla, sitar and probably a harmonium.
The first scene of the movie is a morning scene. The ambient sounds are incorporated like the birds twittering. There is a morning raga being recited. This gives a classical touch to the whole atmosphere and thus sets the musical tone of the movie. The sound track is very well mixed throughout – the background music and the ambient music are intertwined. Some times the dialogues are superimposed with background music and sometimes the music leads to the dialogues. Probably the best use of music has been that of taking the story forward. The soundtrack builds up the scene and also establishes the emotion of the scene.
A signature tune is used which is repeated time and again when the director is dealing with the emotions of the protagonist. Whenever she is found to be sad or emotional this music is played creating a different mood and different sensibility.
The song practiced by the elder brother has often created and reflected the mood of the scenes. Example in the beginning of the movie the morning raga creates the mood, it is infact a way of introducing the character but it also fulfills the function of giving in the setting and mood. Often in the film and majorly the second half he breaks into a song when the situation is emotionally weak or a lot needs to be expressed.
An excellent example of a wonderful usage of classical music is the scene where the protagonist finds out that her younger sister is marrying her love interest. When the younger sister reveals the name of her bridegroom, the protagonist is shocked to the core and also very hurt. No words are used to describe the pain. The background music is chosen so aptly that words are not needed.
The ‘alap’ that is broken in the background reflects pain and sorrow; it goes out loud- almost resembling a weep and a wail. What is amazing is how the alap quickly metamorphosis into cheerful drum beats, showing the arrangements of the wedding. Here in this case the music has been used very beautifully for a transition – from that of sheer sorrow to that of outward joy. These kind of musical transitions have time and again been used in the movie, making sound not just an ‘add on’ thing but an intricate emotional structure of the movie.
Notable is also the use of specific classical instruments at various points to bring out a scene well. Drums have been used in that fashion and the sitar has also been used to create a somber mood.
Another excellent usage is the use of ‘silence’. It has been used sparingly but effectively. While delivering this line –‘Keep me like a wax doll…” which the protagonist says twice in the movie, there is silence. No words, no background only eye movements – this works very well for the scene.
The end of the movie is also musically very strong. The part where the elder brother goes to visit the protagonist is very well done. A folk song is being played at the background and then the signature tune is also repeated. When she starts shouting, “ I want to live…” the echo makes the effect so strong. The loud cry and the wailing all add up to a befitting end which perhaps no words could have matched up to.
Musically very strong and apt, Meghe Dhaka Tara has really used classical music in a wonderful manner.
