Professional Documents
Culture Documents
Aparna Sen
● Born on 25 October 1945 in a Calcutta family connected to the film industry. Her
father Chidananda Dasgupta was a celebrated film-historian, critic and filmmaker. He
was one of Satyajit Ray‘s close friends, and it was with Ray that Aparna Sen made her
acting debut (Teen Kanya)
● In her early youth, Sen was impressed by European cinema which strongly affected
her views on cinema.
● In 1981, Sen made her debut film as a director. The film was 36 Chowringhee Lane,
and the screenplay was also written by her. The film narrates a year in the life of an
aged Anglo-Indian school teacher who is befriended by a Bengali couple.
● Sen won the National Award for the Best Director for this film, which also won the
Grand Prix (the Golden Eagle) at the Manila International Film Festival. The film
announced her arrival as a major filmmaker, focusing especially on women‘s issues.
Sen followed up this early success with several other films, notably Parama (1984),
Sati (1989) and Yugant (1995). Her other films include Paromitar Ek Din, Mr. and
Mrs. Iyer, 15 Park Avenue, The Japanese Wife, Iti Mrinalini, Goynar Baksho and
Sonata.
● Sen has been trained in the art of realistic cinema and performance. The tradition of
Indian parallel cinema started with Satyajit Ray, Mrinal Sen, Ritwik Ghatak and has
been advanced by Shyam Benegal, Girish Kanrad, Adoor Gopalakrishnan, Ketan
Mehta, Mani Kaul, and Kumar Shahani. This tradition takes a leap with a host of very
talented women filmmakers of whom Sen is one of the most prominent.
● She is the winner of nine National Film Awards and nine international film festival
awards for her direction in films. She was awarded the Padma Shri in 1987.
● Sen is recognized not only for her direction and acting but also as a cultural and
socio-political commentator. She was the editor of Sananda, one of the most
influential women’s magazines in Bengali. Through the magazine’s forum she spoke
on issues such as communalism and sexuality rights.
● Sen’s films have always shaken the Bengali middle class out of their complacence,
not only by naturalizing sexual desires, but also by weaving their narratives around
images of war, terrorist and communal violence and concerns for environmental
degradation, subjects which are not so frequently spoken among middle class. Each
of her films constantly returns to the peripheries of society, turning the search lights
on the underprivileged.
36 Chowringhee Lane
● 36 Chowringhee Lane has at its centre Violet Stoneham, a lonely middle-aged Anglo-
Indian school teacher.
● According to K Moti Gokulsing and Wimal Dissanayake, “Anglo-Indians...although
they adopted British ways of life, wore western clothes, ate Western food, and took
Christian names, but they were not considered fully British by the Indians or the
British
● Violet is shown as leading a lonely, uneventful existence. Her relatives and loved
ones have already left the city for greener pastures abroad. Her only companion is a
black cat Toby. She teaches Shakespeare to a bunch of indifferent, giggly students at
one of Calcutta‘s English medium schools. The only two pleasurable constants in her
life are reading the letters of her niece Rosemary and visiting her ailing brother
Eddie, in an old-age home, every Thursday.
● The narrative of the film revolves around Miss Stoneham’s encounter with Samaresh
and Nandita (her former student), a young Bengali couple, and the changes that they
bring into her life. Returning home from church on a Christmas Day, Violet runs into
Nandita (Debashree Roy), and her author-boyfriend Samaresh (Dhritiman
Chatterjee), and invites them over for coffee. They accept her invitation after some
initial hesitation. However, they quickly realize that Violet's apartment would be
convenient for their tête-à-têtes while she is away at work. When Samaresh requests
the use of Violet's apartment during school hours, saying that he would like to work
on his novel, she agrees. For some time, this arrangement works to the benefit of all.
Samaresh and Nandita get the privacy they desperately seek, and Violet has
company when she returns home from work. Over time, she grows very fond of
them, and begins to look upon them as her friends. Nandita and Samaresh
accompany her on walks and bring her dinner from restaurants; she plays old
records for their entertainment. Violet’s life is again filled with delight, and she even
forgets to pay her weekly visit to her brother.
● Meanwhile, the atmosphere in school is beginning to turn sour for Violet. A new
head of the English department is appointed, a young Indian teacher with the right
professional qualifications, but very little experience. Violet is ordered to confine her
teaching to English grammar and not teach literature. As her brother becomes
feebler, he grows more irritable. One day she returns to her apartment unexpectedly
and finds out for what purpose the young couple had been using her apartment.
Events take a turn for the worse: Eddie dies, and her last link with the Anglo-Indian
world is severed. Samaresh and Nandita get married, and move on with their lives.
Violet wants to meet them on Christmas Day, and bake them a cake. They have a
party organized at home, however, and think she would be 'a fish out of water' if
invited. So they lie about not being in town during Christmas. Violet comes over, any
way, to drop off the cake on Christmas Day, and finally sees that she has been
deceived by them.
● The final scene of the film shows Violet reciting aloud from King Lear, with her only
audience being a stray dog. She quotes from act 4, scene 7 ("Pray do not mock: / I
am a very foolish fond old man") and from act 5, scene 3 ("Come, let's away to
prison. / We two alone will sing like birds i' th' cage"). Followed by the dog, Miss.
Stoneham vanishes into the shadows of the winter night. The film concludes with a
still shot of a dark and empty street.
● As Baradwaj Rangan points out, "Like Lear, Miss Stoneham trusts the wrong people,
and like Lear, her faith in them is betrayed, and like Lear, she is enfeebled by sorrow
and self-pity".
Analysis