Monojit Lahiri focuses on an unusual phenomenon gracing the Bengali screen in recent times – a celebration of older women as storm-centres and nucleus of films which have been well received – critically and commercially – by the audiences!

Celebrating Older Women in Bengali Cinema: A New Wave of Powerful Performances: In a refreshing shift, Bengali cinema is witnessing a powerful resurgence of veteran actresses like Sharmila Tagore, Rakhhee, and Moushumi Chatterjee in critically acclaimed films such as Puratawn, Aamar Boss, and Aadi. These performances not only showcase the emotional depth of older women in Indian cinema but also reflect a growing audience appetite for stories centred on age, relationships, and cultural legacy. As Bengali films increasingly embrace mature, emotionally rich narratives, this trend marks a significant moment in redefining ageism in the entertainment industry and celebrating the grace, wisdom, and gravitas that seasoned actors bring to the screen. 

Call it In Praise of Older Women... or, Woody Allen style, “Growing old was their smartest career move!” – Sharmila Tagore (Puratawn), Rakhhee (Aamar Boss), and Moushumi Chatterjee (Aadi) have collectively proved – and even seemed to have lived – the timeless lines of Browning: “Grow old along with me, the best is yet to be.”

Also, wonder of wonders – in this savagely youth-driven time – there clearly seems to be a large, open, and welcoming window for emotionally rich stories that emerge from the heart to touch the soul. Real emotions, feelings, and sentiments transcend age and time, and these three films have categorically proved that old is indeed gold when the heart plays calling card…!! 

The Mumbai Connection

Interestingly, all three actors were Kolkata-based who went to Mumbai and made it big in that hugely competitive space. Sharmila leads the list. The Ray discovery, who intelligently and skilfully balanced Ray with Bollywood, remains the most classy, celebrated, and illustrious achiever.

Moushumi’s sensational debut with Balika Badhu proved she was a natural, and B-town embraced her vivacious presence with enthusiasm. Rakhhee was the only one who didn’t make any waves during her Kolkata days, but Jeevan Mrityu – a film allegedly refused by all A-list heroines of that time – and later Sharmilee rocketed her to the big time as a dazzlingly beautiful headliner!

Today, Sharmila remains selectively active; Moushumi, ditto. Rakhhee, for her part, seems to have consciously withdrawn from the world of arc lights and public gaze – retired – happy and at peace in her domestic, private world. 

So, what got them back to Kolkata and Bengali films after all these years? What was the main criterion for the selection of their films? Were they aware of the common/popular trends, subjects, actors, directors, and audience tastes colouring the contemporary Bengali commercial film scene? Wasn't it risky to get into unknown territory powered only by gut feel, enthusiasm, and intuition?
Besides, this was not Hollywood, where ageism is not such a “bad news” issue, with Meryl Streep, Nicole Kidman, Demi Moore, Cate Blanchett, Sally Field and gang still dazzling the neon...

The Three Comebacks

Sumon Ghosh’s Puratawn is the first to challenge the ruling narrative. Described as a poetic meditation on memory, ageing, and love, the film is a masterclass in silences and storytelling. Sharmila Tagore – in a career-best role – locks eyes with the best of the Ray classics.

Shiboprasad Mukherjee and Nandita Roy’s Aamar Boss – in their trademark style – blend sentiment with humour and charm, evoking valid questions known but never thrown open in the public space. Rakhhee’s quiet and dignified presence (with a look that is a planet away from her last Shubho Mahurat) offers the critical cutting-edge required to attract the all-embracing audience response it did. Who would ever imagine that she has been away from the silver screen for ages!

Jit Chakravarty’s Aadi is the third in the list, with veteran Moushumi Chatterjee headlining the show. Returning to Tolly after 12 years – her fantastic role in Aparna Sen’s Goynar Baksho being her last – the film explores themes of family, relationships, and cultural transitions, blending nostalgia with contemporary storytelling, offering a narrative rich in emotion and drama.

Like the other two, Chatterjee nails it, demonstrating her skills and categorically stating that absence does make the heart grow fonder… and does not – in any way – rust real talent!

However, one question pops up – why this sudden tryst with the grey-haired community? In an age that defines here and now as the name of the game, why are these oldies yanked out of their blissful, easy, leisurely lives, thrust into Lights! Camera! Action! space all over again?

The fact is, elder actors holding centre-stage is not totally unknown. Be it the legendary Chhabi Biswas in the unforgettable Ray classic Jalsaghar, and later films like Banchharamer Bagan or Mayurakshi – starring Manoj Mitra and Soumitra Chatterjee – it’s been there. Bela Sheshe, Belashuru, Gotro, Shonar Pahar, and of course the incredible recent masterpiece Ei Raat Tomar Amar are some other examples confirming this fact.

The Cultural Context

Critics have diverse opinions. Some state that since Bengal has the second-highest proportion of elderly women living alone, narratives on loneliness strike an immediate chord and become relatable.

Others suggest that elder actors and veterans have a matchless understanding of character-building and emotional nuance, which can and does deepen a film’s emotional resonance.

Yet others say that oldies truly and sensitively reflect Bengali culture and heritage, which – portrayed with honesty, skill, and craft – resonates strongly with audiences. However, there has to be compatibility and brand fit. If it's superficial, following a trend, it will have to be peeled off the ceiling!

Whatever be the reasons, we, as the audience, are the ones to gain. The experience, wisdom, and maturity that they invest in their roles enhance the performance, create nuanced characters, and bring an exclusive gravitas that lights up the film. Further, depth and complexity round off the magic…
Here’s hoping that more of the same is on its way. Godspeed!