Kolkata: Acclaimed filmmaker Ranjan Ghosh’s controversy-mired Bengali film Rong Beronger Kori (The Many Colours of Money) hit theatres across the State on Friday. The film, which has four separate stories tied to a common thread, has Chiranjit Chakraborty, Rituparna Sengupta, Ritwik Chakraborty and Arunima Ghosh in lead roles.
Ghosh’s directorial debut Hrid Majharey had received critical acclaim at home and abroad.

The film Rong Beronger Kori had, in the past, drawn the ire of Hindu Jagran Manch for having two of its characters named after deities Ram and Sita.

 The Hindu Jagaran Manch has mounted protests against the release of the film until certain specific changes are made. Rong Beronger Kori is essentially an anthology film, with four stories connected by the central theme of the different hues (or notions) of money, each story bringing out a distinct colour of money through the changes in relationships among the characters inhabiting them.

In the film, such basic human emotions as love, separation, the need for profit and the fear of loss are shown to colour money in four different ways. In one of these stories, a tribal couple is shown, and the man and the woman are named Ram and Sita respectively.

Allegedly, they have been shown to get a divorce as the story progresses, and this simple fact (or shall we say fiction?) has ruffled the feathers of radical Hindu groups — who have demanded that the film be banned, claiming that it has the propensity to hurt the religious sentiments of Hindus all over the world.

 Director Ranjan Ghosh, whose scriptwriting collaboration with veteran filmmaker Aparna Sen in Iti Mrinalini and directorial debut with Hrid Majharey, has said that not even in his wildest imagination did he think that a controversy could arise from an issue so gratuitous, unwarranted and untenable as this. He does mention that there is a reason why the two characters in his film have been named Ram and Sita and that the reason is an extremely noble one, nothing to do with religion at all, and which will be easily seen and accepted by anyone who watches the film with an open mind. How one can object to the release of the film without even having watched it — he fails to understand.
Sanjay Leela Bhansali’s epic drama film Padmaavaat and Sanal Sasidharan’s brilliant commentary on patriarchy S Durga — two films with two different messages, and at two different ends of the financial spectrum of filmmaking — have both been held hostage to rising outcry from fringe groups.