To the world Ghatak is known to make rather unusual films. Neo-realistic films. In fact, his films like Nagarik, Subornorekha, Ajantrik, Meghey Dhaka Tara and Titas Ekti Nodir Naam have been totally hatkey from even the films made by his contemporaries - Ray, Sen and others. Dhiren Bhagat had once described Ghatak as a figure particularly amenable to the cliches journalists reserve for the tortured bohemian: passionate, derelict, adventurous, frustrated, ravaged by drink, and frankly bewildered by the disintegrating world around him. It is believed that after seeing Nagarik, an eminent film critic had written that neo-realism may have died in the streets of Rome and Paris, but it was flourishing in Kolkata. Or something to that effect.

Baari Thheke Paaliye (The Runaway, 1958) was even further different from his oeuvre. It was based on a children’s story book by the much loved Bengali author, humourist Shivram Chakkotti (to anglicize the way he is often referred in Bangla) and is the story about Kanchan, a naughty boy in a village, always playing pranks. Kanchan is so petrified of his father, who is not only harsh towards him but also towards Kanchan’s mother, whom he loves dearly. So, he decides to escape and reaches Kolkata. 

The story and the film is about the nuances of the big city. Of people on the street. People who struggle to survive everyday. Even of the caste issues. People who are helpful. Honest. And dishonest. Through Kanchan, Ghatak weaves a story of a city which for the people in the villages is like an El Dorado. (That tag certainly goes to Mumbai now, as people have moved to Mumbai almost penniless, in search of fame and fortune. Some made it, some perished. Habib Tanvir wanted to come to Mumbai to try and act in films. He had no money, so he applied for a Naval ratings job as they paid two-way train fare for the interview. He flunked the interview alright, but reached Mumbai).

Kolkata is no pot of gold, but it is a city with a heart. Even all rich people are not evil. The parents of the little girl, Mini, whom he befriends are also nice people. 

Not known to many, Shivram also had Left leanings and Baari Thheke Paaliye is a political statement. The cast and crew, typically Rwitick, are drawn from the IPTA stable. The music by Salil Chaudhuri has a song by Hemanta which turned almost iconic (“Haridas-er Bulbul Bhaja”), while “Anek Ghuriya Sheshe Ailam Re Kolkata”  sung by Shyamal Mitra had hit the charts in the late 50s-60s.

My generation grew up reading Shivram and Hemendra Kumar Roy. In a world where only elders went to see movies, we were happily escorted to see Lalu Bulu and Dersho Khokar Kando. And Baari Thheke Paaliye. We had all read the book over and over again and almost wept when, in the book, the benevolent man asks Kanchan what he would like to gift his father and he replied a cane - “...though I know it will be lashed on me”. For decades I had preserved my copy of the book but then…well!

The film may not have been a total take-off from the book, but one can never forget the role of Kanchan played by Parambhattrak Lahiri, possibly, his only appearance ever. He was us. He was so normal in his role that like many of us it is only Sean Connery we imagine when we read James Bond, it was he whom we saw when we read and re-read the book after seeing the film.

Film writers and critics do not include Baari Thheke Paaliye in the Ghatak greats list - but sure, it was Ghatak all over. That he could take on such a subject with complete mastery was only a testimony of his skills.