Directed by filmmaker Ram Kamal Mukherjee, the Bengali biopic, which traces the extraordinary journey of stage actress Binodini Dasi in late 19th century Bengal, is wowing audiences in India and abroad.
The South Asian International Film Festival of Florida (SAIFFF) recently witnessed an unforgettable moment when Binodiini Ekti Natir Upakhyan emerged as the standout winner, sweeping three of the festival’s most prestigious honors: Best Director, Best Actress, and Audience Choice Best Film. Helmed by filmmaker Ram Kamal Mukherjee, the Bengali biopic, which traces the extraordinary journey of theatre legend Binodini Dasi in late 19th century Bengal, left audiences spellbound at the NCG Theatre in Tampa. Within minutes of ticket sales opening, the screening was sold out—a testament to the film’s captivating narrative and evocative visuals.
For Mukherjee, this wasn’t just another film—it was a vision that had been gestating for years. “Binodini Dasi’s life, I think, is something that needs to be known. She was a renaissance woman who transformed the perception of female actors in Bengali theatre, and Indian theatre at large,” he explains. “For decades, the only widely recognized portrayal of her was through Meena Dasgupta’s play, which later inspired a Bengali film over 40 years ago. But I always felt her story had to be told differently.”
Mukherjee’s approach to the film was clear from the outset—he wanted to elevate Binodini’s life story to an epic, almost operatic scale. “Her life was nothing short of an opera, filled with grandeur, struggle, and passion,” he says. “I wanted to treat it accordingly, making it look like a magnum opus.”
However, not everyone shared his vision initially. “A lot of people had their reservations when I was writing the screenplay and even while filming. They felt it looked too opulent,” he admits. “But that’s exactly what I wanted—to present Bengal in a regal, resplendent manner. The color palette, the scale, the art direction—it all had to be different.”
The film’s lavish visual treatment is one of the key reasons it has resonated so well beyond Bengal. “People are drawn to the sheer aesthetic experience because they haven’t seen such a take before,” he notes.
Creating a period drama is no small feat, and Mukherjee left no stone unturned in ensuring authenticity. “Historical films demand meticulous research,” he says. “We had an entire team working on different aspects—Abro Chakraborty and Bhaskar Dasgupta led the research, while my assistant director Pravan Agarwal co-wrote the additional screenplay and dialogues. The main screenplay and dialogues were penned by Priyanka Poddar.”
Every department played a crucial role in recreating 19th-century Bengal. Art director Tanmay Chakraborty designed elaborate sets, while cinematographer Shomik Haldar carefully considered lighting sources to authentically depict a world without electricity. Costume designer Sushmita Dasgupta delved into fabric choices, tailoring styles, and intricate detailing to ensure visual accuracy.
Mukherjee also emphasized the importance of getting the props, makeup, and hairstyling right. “Vithika Benia handled makeup, while Mo Shumi led the hair department. Prosthetics were a major challenge, handled by Shom Nadda Kundu. Even jewelry played a vital role in defining characters,” he says. “Each aspect—be it the stitching of garments, the choice of hairpieces, or the materials used—had to be meticulously researched and executed.”
Despite all this effort, Mukherjee acknowledges taking creative liberties. “It’s based on multiple sources—books, journals, articles—but I didn’t want to make a documentary. I wanted to create a compelling film that balances facts with engaging storytelling,” he says. “At the end of the day, cinema is also about entertainment.”
One of the most lauded aspects of Binodiini Ekti Natir Upakhyan is the performance of its leading lady, Rukmini Maitra, who completely immersed herself in the role. Mukherjee recalls their initial conversations in 2019: “She never once asked about remuneration, schedules, or the production setup. All she wanted to know was what she needed to do to become Binodini.”
Her dedication to the role was unparalleled. “She spent years preparing—learning Kathak, attending workshops, reading extensively, and altering her mannerisms. Who does that for a film? It’s rare to find an actor so committed to embodying a character,” Mukherjee marvels.
The results speak for themselves. Maitra’s transformation into Binodini has been hailed as a career-defining performance. “She has completely become Binodini. The love and acclaim she’s receiving—from Mumbai to Bangalore, from Hyderabad to overseas—proves that when an actor fully surrenders to a role, they deliver something truly exceptional,” Mukherjee says proudly.
The production faced significant hurdles in recreating the era of Binodini’s time. Unlike major film hubs, Kolkata lacks purpose-built sets like Ramoji Film City, so Mukherjee and his team had to hunt for existing locations that could be transformed. “We had to find buildings that retained some of the 19th-century aesthetic and then modify them,” he explains. “One of the most expensive sets we built was at Bharat Lakshmi Studio, where we recreated entire streets, Binodini’s house, the shops, and Golab Bai’s residence.”
Post-production also presented immense challenges. “Due to modern structures creeping into our frames, VFX played a massive role in erasing electrical wires, streetlights, and anachronistic elements,” Mukherjee says. “Even though we completed shooting in 2020, we spent almost four years fine-tuning the visual details to eliminate any historical inaccuracies.”
With Binodiini Ekti Natir Upakhyan receiving overwhelming praise and accolades, Mukherjee is both relieved and elated. “When you work so hard to bring a vision to life, and then see it appreciated by audiences far and wide—it’s beyond gratifying,” he says.
More than just a film, this is a cultural tribute to a woman who defied the odds to carve her place in history. “Binodini’s story is one of resilience, artistry, and transformation. I hope this film ensures that her name is never forgotten.”
As the credits roll and the applause echoes across theaters worldwide, one thing is certain—Ram Kamal Mukherjee’s Binodiini Ekti Natir Upakhyan is not just a film. It is a movement, a revival, and above all, an enduring homage to the indomitable spirit of Binodini Dasi.