The teaser of Raas is out
Tathagata Mukherjee's 'Raas' portrays Somnath's return to his ancestral home after 18 years, reigniting forgotten bonds. As he prepares to leave for a new life after his wedding, the film explores the enduring charm of Bengali culture and the strong family ties.
Rass
directed by
Tathagata Mukherjee
featuring
Vikram Chatterjee
and Devlina Kumar in the lead roles will narrate the importance of the closely knitted emotions that prevails in a joint family, the charm of the evergreen
Bengali culture
where every soul feels vibrant and livelier. The audience will witness the story of a 30 year old young engineer, Somnath who is about to take his wedding vows with his beloved, Sanjh and will depart from his country for a more established and dignified life. The movie starts with the celebration of Raas Purnima, on the occasion when Somnath is about to return to his native home, Manikpur after 18 years. After the unfortunate demise of Somnath's mother, Somnath and his father will again visit their ancestral house. With the passage of time, transition has hit the lanes, houses, the lifestyle of the old and younger generation of Manikpur but the essence of affection, benevolence, bondings and the familiar ties have remained within the residents.
The film takes an interesting turn when Somnath pays a visit to his grandparents' home and encounters the colorful rituals and attachments he has left behind. A conflict of love, inclination towards one's roots and the bygone childhood relationships, especially with his childhood ally Rai, all these lost essence and values eventually starts blooming in Somnath's heart.
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Nonetheless, Tagore remained the work's author and translator, and the Nobel Prize, as Mohite suggests, became a lightning rod for praise and critique alike. The Gitanjali for which Tagore was honoured was not his 1910 Bengali collection, but a curated English compilation — only 53 of the 103 poems were from the original; the rest were taken from other works such as Kheya and Achalayatan, stripped of rhyme and metre, and arranged for a mystical tone. In 1913, Yeats helped stage Tagore's play The Post Office at the Abbey Theatre. He also introduced Tagore to American poet Ezra Pound and secured publication through the India Society and Macmillan. This elevation of Tagore as a mystic suited the moment but troubled critics. Pound warned early: 'If his entourage has presented him as a religious teacher rather than as an artist, it is much to be lamented.' Tagore himself grew wary of this spiritual branding. In his delayed Nobel lecture (1921), he focused on his newly founded Visva-Bharati University, saying: 'I have used the money for establishing… a university where Western students might come and meet their Eastern brethren.' He had begun converting symbolic recognition into real capital for India's educational sovereignty. Yeats would win his Nobel a decade later, in 1923, as the national poet of the newly independent Irish Free State. His Nobel lecture, 'The Irish Dramatic Movement', celebrated the role of literature in shaping Ireland's national consciousness. As he wrote to Edmund Gosse, 'Of course I know quite well that this honour is not given to me as an individual but as a representative of a literary movement and of a nation.' Tagore, by contrast, was increasingly critical of nationalism. In his lectures (Nationalism, 1917), he argued that political chauvinism — whether Western or Eastern — ultimately imitated the violence of the Empire. His novel Gora (1909) goes further, challenging notions of religious and racial purity through a protagonist who discovers he is ethnically Irish but raised as a Brahmin Hindu. Yeats's nationalism, while not imperialist, was mythic. Rooted in Celtic revivalism, his plays and poetry built a romantic Irish self-image. While Tagore sought to dismantle cultural boundaries, Yeats idealised Ireland's past to inspire its future. Both poets looked to tradition, but Tagore's was dialogic and international; Yeats's, symbolic and insular. Their relationship soon grew strained. By 1935, Yeats wrote bitterly, 'Damn Tagore … Tagore does not know English, no Indian knows English. We got out three good books … then he brought out sentimental rubbish and wrecked his reputation' (Yeats, Letters, p. 834). This position contrasts starkly with his tribute just four years earlier in The Golden Book of Tagore (1931), where Yeats wrote, 'I am still your most loyal student and admirer.' 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Over a century later, their relationship remains a study in mutual admiration, ideological divergence, and the politics of literary framing. Yeats and Tagore remain twinned in Nobel memory, not as perfect collaborators, but as witnesses to a moment when East and West briefly, and uneasily, shared a page. Aishwarya Khosla is a journalist currently serving as Deputy Copy Editor at The Indian Express. Her writings examine the interplay of culture, identity, and politics. She began her career at the Hindustan Times, where she covered books, theatre, culture, and the Punjabi diaspora. Her editorial expertise spans the Jammu and Kashmir, Himachal Pradesh, Chandigarh, Punjab and Online desks. She was the recipient of the The Nehru Fellowship in Politics and Elections, where she studied political campaigns, policy research, political strategy and communications for a year. She pens The Indian Express newsletter, Meanwhile, Back Home. Write to her at or You can follow her on Instagram: @ink_and_ideology, and X: @KhoslaAishwarya. ... Read More
