Every day To Extraordinary: Magic Realism and Existential Narratives in Golpo Holeo Shotti and Chaalchitra

Abstract Whenever the topic of the Masters of Bengali Cinema comes along, four names are always on top. The Cinephiles frame their arguments on Classical Bengali Cinema by mentioning Tapan Sinha, Satyajit Ray, Mrinal Sen and Ritwik Ghatak. In this paper, a comparative analysis has been adopted to explain the film of Tapan Sinha ‘s Golpo Holeo Shatti (1966) as well as Mrinal Sens’s Chaalchitra (The Kaleidoscope). Both the films nurture the perfect blending of Magic realism. It braids together daily events with fantastic elements, and the real with the unreal. Releasing year of both the movies vary - one is premiered during the 1960’s and the other in 1980’s , but the socio-politicaleconomical context merges with the theatrical context of the Postwar English theatre (kitchen sink drama and naturalism), Existentialism (propagated middle class milieu’s struggle), the domestic realism the Existential Crisis of the Young Men or the young adults under the domain of Marxist and communist approach. The destructive consequences of the First and Second World Wars social, and political alterations resulted in unemployment, insecurity, and frustration in society, especially among young educated people who returned from the war. The Kitchen Sink Drama written within the mode of the new wave of British Realism in which plays are staged in domestic settings with a Naturalistic representation of ordinary life. Keywords: Magic Realism, Tapan Sinha, Mrinal Sen, Existentialism, Kitchen Sink Realism.