AN INVESTIGATIVE STUDY OF POVERTY PORTRAYED IN CINEMA: THROUGH THE FILMS OF SATYAJIT RAY AND RITWIK GHATAK

In the contemporary society, individuals encounter numerous social challenges. One prominent issue is poverty, which can be defined simply as the inability to meet fundamental human social needs. This form of poverty is a significant socio-economic challenge prevalent in many nations globally. Filmmakers, such as Satyajit Ray and Ritwik Ghatak, have integrated these social dilemmas into their cinematic works. The primary aim of this research is to scrutinize the portrayal of poverty in the Apoo trilogy by Satyajit Ray and Ritwik Ghatak, as well as the movies Nagarik (1952) and Meghe Dhaka Tara (1960). Qualitative research methodology was used as the research methodology for this research. In collecting data for this research, information was gathered under three parts: primary data, secondary data, and tertiary data. The films were watched under the primary data and the concept of poverty in the film was analyzed through content analysis. Also, the information related to the selected movies under secondary data was studied through literary sources. The research conundrum revolves around assessing whether the depiction of poverty in the films Apoo trilogy, Nagarik, and Meghe Dhaka Tara is accurate. This study was confined to the exceptional trilogy of films crafted by Satyajit Ray, alongside a selection of movies by Nagarik and Meghe Dhaka Tara, who were formulated by Ritwik Ghatak. The research findings suggest that the aforementioned films have effectively conveyed the concept of poverty, shedding light on its attributes such as joblessness, inadequate healthcare facilities, unstable housing, lack of privacy, and insufficient educational opportunities. In conclusion, this investigation posits that the concept of poverty and its key features have been delineated in films like the remarkable Apoo trilogy and Nagarik and Meghe Dhaka Tara.