In the landscape of contemporary Bengali cinema, Aparna Sen’s Goynar Baksho (The Jewellery Box, 2013) stands as a shimmering gem—deceptively delicate on the surface but profoundly resonant within. Based on a short story by the celebrated Bengali writer Shirshendu Mukhopadhyay, the film transcends the simple premise of a family heirloom. It is a multifaceted exploration of women’s changing roles, the corrosive nature of greed, and the enduring power of storytelling. Through magical realism, sharp humor, and masterful performances, Sen uses a locked box of ornaments to unlock the very soul of a Bengali family across three generations.
Plot Summary and Narrative Structure
The film opens with Somlata (Konkona Sen Sharma), a newlywed bride in a traditional, crumbling aristocratic household in contemporary Bengal. She is the conscientious wife of the younger son, trying to navigate the stifling atmosphere created by her thieving, miserly brother-in-law, Chinmoy (Saswata Chatterjee). The arrival of a mysterious old trunk—the goynar baksho—changes everything. Inside, Somlata finds not just jewelry but the restless ghost of its original owner, Pishima (Moushumi Chatterjee), the eccentric, foul-mouthed widow of the family’s long-dead patriarch.
The narrative unfolds in three distinct acts. The first is a witty, domestic dramedy centered on the living, as Somlata battles Chinmoy’s greed for the jewels. The second act is a nostalgic, sepia-toned flashback narrated by Pishima’s ghost, revealing her tragic life: married to a much older zamindar, denied agency, and her only “rebellion” being running away with a lover for a single night, only to be returned in disgrace. The third act returns to the present, where Somlata, learning from Pishima’s story, uses the jewels not for personal vanity but as a tool of emancipation—securing her daughter’s education and her niece’s freedom to choose love over an arranged marriage.
The Jewellery Box as a Symbol of Evolving Womanhood
The central metaphor of the goynar baksho is brilliantly layered. For Pishima’s generation, the box represents entrapment. The jewels are her husband’s wealth, given as a substitute for freedom, respect, or love. She wears them as armor but cannot sell or leave them because they are her only material proof of her unwanted status as a widow. The box is her prison cell—beautiful, silent, and confining.
For Chinmoy and the patriarchal system, the box is pure capital—an asset to be hoarded, controlled, and never used for women’s agency. For Somlata’s generation, however, the box becomes currency for change. She does not hoard or wear the jewels out of vanity. Instead, she shrewdly brokers them: a pearl necklace is sold to fund her daughter’s education; a pair of bangles is used to negotiate her niece’s love marriage. The box, which once silenced women, now gives them a voice and a future. Sen brilliantly argues that financial control, not just emotional support, is the bedrock of female liberation.
Magical Realism and Social Critique
Pishima’s ghost is the film’s masterstroke. She is not a terrifying specter but a tragicomic commentator, smoking cigarettes, swearing colorfully, and watching modern life with incredulous humor. Through her, Sen employs magical realism to bridge past and present, allowing a direct critique of social stasis. “Nothing has changed,” Pishima laments, watching Somlata perform the same rituals of wifely submission she once did. The ghost serves as the conscience of the narrative, reminding us that while laws and fashion evolve, the emotional architecture of patriarchal control remains stubbornly intact.
Yet, the film is not didactic. Sen’s critique is woven into the comedy of Chinmoy’s obsessive counting of ornaments or the family’s absurd pride in their faded glory. The humor makes the medicine go down, but the bitter truth is unmistakable: women’s value is still measured by the gold they possess or the sons they bear.
Performance and Craft
The film’s success rests on its stellar cast. Konkona Sen Sharma delivers a restrained, luminous performance as Somlata. She embodies quiet intelligence and moral courage, never once resorting to melodrama. In contrast, Moushumi Chatterjee is a riot as Pishima—vulgar, vulnerable, and heartbreaking. Her transition from comical ghost to a weeping woman recounting her lost love is one of the finest pieces of acting in modern Bengali cinema. Saswata Chatterjee is perfectly odious as Chinmoy, while Srabanti Chatterjee adds warmth as the conflicted niece.
Directorially, Aparna Sen uses a warm, intimate visual palette. The dusty, book-filled rooms of the old house become a character in themselves—claustrophobic yet strangely comforting. The shift to the golden-hued flashback sequences is seamless, evoking the poetic melancholy of a bygone era. Bengali Movie Goynar Baksho 2013 12
Cultural and Feminist Significance
Goynar Baksho is a landmark film because it rejects both the docile heroine of traditional Bengali cinema and the angsty rebel of art-house films. Somlata is a pragmatist. She works within the system to subvert it. She does not abandon her family; she outsmarts it. This is a uniquely mature feminist statement: liberation need not be a loud explosion; it can be a quiet, strategic unlocking of doors.
Furthermore, the film celebrates the oral tradition of storytelling. The baksho (box) becomes a narrative box, passing tales of sorrow and survival from one woman to the next. By the film’s end, the physical jewels are gone, but the story—and the power it grants—remains.
Conclusion
Goynar Baksho (2013) is more than a charming family drama. It is a sharp, witty, and deeply humane meditation on greed, gender, and generational change. Aparna Sen, with her pitch-perfect screenplay and direction, transforms Shirshendu Mukhopadhyay’s tale into a timeless cinematic parable. The film ultimately asks: What is true wealth? Is it gold locked in a box, or is it the freedom to choose one’s own path? With its final shot of Somlata smiling as the empty box is discarded, the answer is clear. True alchemy lies not in preserving jewels, but in transforming their power into liberty. And that is a treasure no lock can contain.
Goynar Baksho (The Jewellery Box) is a 2013 Indian Bengali-language supernatural comedy-drama film directed by Aparna Sen. It explores the lives of three generations of women and their evolving positions in society, linked by a secret box of jewels. Key Details Release Date: April 12, 2013. Director: Aparna Sen.
Source Material: Based on the novel Goynar Baksho and the short story Rashmonir Sonadana by Shirshendu Mukhopadhyay. Starring: Moushumi Chatterjee as Rashmoni (Pishima) at 70. Konkona Sen Sharma as Somlata. Srabanti Chatterjee as Chaitali and a young Rashmoni at 22. Saswata Chatterjee as Somlata's husband. Plot Overview
The story begins with Somlata, a new bride entering a declining zamindar (landlord) family. The family’s matriarch, Rashmoni (Pishima), is a widowed aunt who is obsessed with her secret jewellery box containing 500 bhari of gold.
Generational Shift: After Rashmoni dies, she returns as a ghost to guard her treasure, eventually entrusting it to Somlata.
Changing Times: Somlata uses her wit to convince the ghost to let her pawn the jewels to start a business, transforming the family from idle gentry to commercial success.
The Liberation War: The narrative eventually moves to 1971 during the Bangladesh Liberation War, where Somlata's daughter, Chaitali, decides to donate the jewels to the Mukti Bahini cause. Critical Reception
Rating: Generally positive, with Times of India giving it 4.5/5 stars. In the landscape of contemporary Bengali cinema, Aparna
Highlights: Critics praised the performances of Moushumi Chatterjee and Konkona Sen Sharma, the film's satirical humor, and its feminist undertones.
Availability: The movie is available to stream on platforms like Hotstar .
Goynar Baksho (The Jewellery Box), released in 2013, is a landmark Bengali supernatural comedy-drama directed by Aparna Sen. Based on Shirshendu Mukhopadhyay’s novel, the film uses a box of gold ornaments as a metaphor to trace the evolving social position and empowerment of three generations of women against the backdrop of a changing Bengal. Core Themes and Narrative Structure
The film is structured around the lives of three women from different eras, linked by a wooden box containing 500 bharis of gold:
Generation 1: Rashmoni (Pishima): A child widow from an aristocratic Zamindar family who became obsessive and bitter due to social restrictions. Her attachment to the jewelry is so strong that she returns as a ghost to guard it from her greedy relatives.
Generation 2: Somlata: The timid but witty daughter-in-law who receives the box from Rashmoni's ghost. Unlike her predecessors, she uses the jewelry as capital to start a business, transforming the family's declining fortunes and establishing her own independence.
Generation 3: Chaitali: Somlata’s daughter, who represents a fully modernized and liberated woman. In a final act of empowerment, she gives the jewelry away to support the Bangladesh Liberation War. Critical Analysis: Feminism and Satire
The "Herstory" Perspective: Critics note that the film provides a "herstorical" perspective, reclaiming the narratives of women often silenced by patriarchal history.
Genre Blending: It is praised for its unique blend of period drama, social satire, and high-quality CGI used for supernatural elements.
Social Commentary: The film critiques the hypocrisy of the declining Zamindari class, where men remain idle while clinging to "aristocratic" pride, contrasted with the resilience and adaptability of the women. Reception and Awards
🎬 Goynar Baksho (2013) : A Supernatural Comedy Masterpiece
Looking for a movie that perfectly blends humor, history, and a touch of the supernatural? Directed by the legendary Aparna Sen, Goynar Baksho Upon its release on April 12, 2013 ,
(The Jewellery Box) is a must-watch Bengali classic that explores the changing roles of women across three generations. Why you should watch it:
The Story: Based on Shirshendu Mukhopadhyay's novel, the film follows a matriarch named Pishima (played brilliantly by Moushumi Chatterjee) who becomes a ghost to protect her beloved box of jewels.
The Cast: Features powerhouse performances by Konkona Sen Sharma and Srabanti Chatterjee.
The Theme: While it's a "supernatural comedy," it deeply examines the deprivation and empowerment of women in a patriarchal society. Quick Facts: Release Year: 2013 Genre: Supernatural Comedy / Drama Language: Bengali
Streaming: You can often find Bengali hits like this on platforms such as Sony LIV or Hoichoi.
Whether you're a fan of Bengali cinema or just love a good ghost story with heart, this jewellery box is worth opening! 💎👻
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Upon its release on April 12, 2013, Goynar Baksho opened to rave reviews. The Times of India rated it 4/5, calling it “a sparkling ride.” It won the National Film Award for Best Feature Film in Bengali and Best Screenplay (Aparna Sen). Moushumi Chatterjee won the BFJA Award for Best Actress.
But what about the “12” in your search? Here are the most plausible explanations:
No official sequel exists, though a spiritual successor—“Goynar Baksho 2” —has been rumored since 2019 but remains unconfirmed.
Ratna is not a horror ghost. She is a commentary on loneliness. She chases Somlata not to scare her, but because she has no one else to talk to. This makes her the most "human" character in the film.