Nagarik, the first film he made but the last to be released (after his death), is the story of an economically marginalised family struggling for survival in Calcutta.
Meghe Dhaka Tara is set in a refugee colony of Calcutta, where a family struggles to survive the sprawling, modern, but cruel city around. Garbed in the deceptively simple storyline of Subarnarekha is a symbol of geographic, emotional, moral and political uprooting and devastation of its characters, where a woman separated from her brother in East Bengal (now Bangladesh), is forced into prostitution in Calcutta while the simple, honest brother turns a hedonist in the same city. When fate brings the brother as her client, she commits suicide.
Ghatak's obsession with Partition is crystallised directly in Komal Gandhar, which like his other films, is also a veiled biography, only this time directly based on incidents from his own early life where he travelled across villages putting up plays.
The main character is a young man, a refugee from East Pakistan who seeks the meaning of patriotism in a partitioned country by trying to reach people through theatre.
Image: The eternal refugee Ritwik Ghatak