Other regional Indian classical dance forms had been depicted in a few Bengali films with an authentic earnestness and execution. For example, the best Kathak nritta in a non-Mujra setting in Indian cinema can be found in Jalsaghar (1958), Khudito Pashan (1960), and Basanta Bahar (1957); Odissi dance was skillfully depicted in Nirjana Saikate (1963) and Yugant (1995); and the infamous Anjana Banerjee performed decent Bharatanatyam in Chhandaneer (1989). That's not to say that examples of bad faux-classical dance are not found in Bengali cinema. There are plenty such as Abhiman (1986), Jamalay Jibanta Manush (1958), and some faux-Manipuri dances—but when good dance is showcased in Bengali films, it is really good. And there are certainly folk dance forms of the region most notably Chhau that have also been showcased in a few Bengali films.
So while the depiction of Kathak and Odissi in Bengali films had a uniquely Bengali precedent, I continued to wonder...was there a uniquely-Bengali dance depicted in Bengali films? For some time I assumed there simply was not because from my limited experience Bengali films seemed to be mostly "serious" and "artsy." This perception appears to be accurate especially for pre-1980s films. Historian Sharmistha Gooptu has shown that long before Satyajit Ray, Calcutta productions were "distinguished through their association with Bengali literary and avant-garde cultures" and were deliberately made and seen as noncommercial art for the Bengali audience which had different tastes than the all-India market and demanded films with quality storylines and acting . Cinematic dance depictions were not well received in Bengal. Silent/early Bengali films like Andhare Alo, Pati Bhakti, Bilwamangal, and Tara the Dancer which had courtesan/nautch characters were criticized for "depicting the life of prostitutes" . Sharmistha reveals a fascinating nugget of information—that director Binay Bandopadhyay (Banerjee) "brought the song and dance film" to Bengali cinema, but he lamented his receiving "only abuses and criticism" by critics who upheld the virtues of the "refinement and decency" of Bengali films as opposed to the "cheap and commercial" focus of the Hindi cinema of Bombay . I wish I could track down the films he was associated with, but I've not had success finding information about him.