Meghe Dhaka Tara

The film opens in 1969 with Nilkantha being admitted to a mental asylum under the care of Doctor S. P. Mukherjee. The staff acknowledge his status as a respected artist, hinting at recognition beyond the walls. This setup establishes the tension between his creative identity and his fragile mental state.

Doctor Mukherjee learns that the Prime Minister of India knows Nilkantha and may request the hospital authorities to give him special care. The possibility of outside political influence foreshadows how power can shape his life in confinement. This insight underscores Nilkantha's unusual prominence despite his illness.

A police officer visits the ward and tells Doctor Mukherjee that Nilkantha is merely a wasted drunkard. This judgment reveals the stigma attached to him, contrasting with his artistic stature. The moment deepens the sense of misrecognition he faces inside the institution.

Another patient mocks Nilkantha as a 'disgraced intellectual' within the confines of the asylum. The taunts reflect social scorn that shadows him even in confinement. Despite the ridicule, his inner life and creativity persist alongside the humiliation.

Nilkantha writes a play and stages it with other asylum patients. This act demonstrates his ongoing commitment to art despite confinement and institutional control. The theatre becomes a space for creative resilience within the walls.

Durga, Nilkantha's wife, tells him separation is essential, signaling strain in their marriage. Her decision highlights the personal costs of his life as an artist and his mental distress. The crisis intensifies the emotional pressures surrounding his professional struggles.

Nilkantha witnesses the partition of Bengal and the resulting devastation, an event that shapes his worldview. In its wake, he grows attracted to communism as both a political movement and a lens for his art. This turning point marks a shift in his intellectual and creative orientation.

The film situates Bengal during Tebhaga and Naxalite movements, showing how social upheaval colors life and thought. These movements provide a contextual backdrop that informs Nilkantha's disillusionment with established politics. The scenes capture the energy and danger of a province in political flux.

A scene shows a book named 'How to be a good communist?' burning, symbolising Ghatak's dissatisfaction with Indian communist politics. The act critiques dogmatic ideology and its distance from artistic truth. It underscores the conflict between political rhetoric and creative integrity.

In a discussion with Doctor Mukherjee, Nilkantha declares that he cannot make entertaining or commercial films. He proclaims himself a 'people's artist' and asserts that his work is his obligation to the public. This exchange crystallises his artistic creed and his resistance to financial commodification.

The film continually depicts Nilkantha's mental agony, inner contradictions, disappointments, and financial troubles. These personal struggles are linked to his stubborn artistic drive and sense of social mission. The texture of life in both hospital and home contexts reflects a broader cultural struggle.

As events unfold, the message emerges that money is not what endures; it is one’s work. Durga's departure underscores the consequence of living for art in a society that undervalues it financially. The final sentiment is that art can outlive instability through lasting impact.