The struggles and triumphs of a 1950s Kolkata family whose highest earner is a woman is told with marvellous lucidity in an optimistic masterpiece
Satyajit Ray’s magnificent movie from 1963 is now rereleased as part of a Ray retrospective at London’s BFI Southbank, and what a pleasure to marvel again at this film’s freshness, its fluency, its directness, its powerful and essential optimism. Ray’s lucid storytelling always strikes me as a kind of miracle whenever I see this film. He makes the miracle look easy.
The setting is Kolkata in the early 1950s and Subrata Mazumdar (Anil Chatterjee) is the harassed employee of a bank which – though he doesn’t know it – is on the verge of going under. He is reasonably happy with his lot, with a humorous, distracted manner, often absent-mindedly smoking or eating during conversations. He lives with his wife Arati, whose sensitivity, sweetness...
Satyajit Ray’s magnificent movie from 1963 is now rereleased as part of a Ray retrospective at London’s BFI Southbank, and what a pleasure to marvel again at this film’s freshness, its fluency, its directness, its powerful and essential optimism. Ray’s lucid storytelling always strikes me as a kind of miracle whenever I see this film. He makes the miracle look easy.
The setting is Kolkata in the early 1950s and Subrata Mazumdar (Anil Chatterjee) is the harassed employee of a bank which – though he doesn’t know it – is on the verge of going under. He is reasonably happy with his lot, with a humorous, distracted manner, often absent-mindedly smoking or eating during conversations. He lives with his wife Arati, whose sensitivity, sweetness...
- 7/21/2022
- by Peter Bradshaw
- The Guardian - Film News
Criterion brings two of auteur Satyajit Ray’s early 60s works to the collection this month with Charulata (1964) and The Big City (1963), both starring Madhabi Mukherjee in phenomenal performances. While both explore women’s lives in a rigidly male dominated world, it’s the earlier film that stands as Ray’s first look at contemporary life in his native Kolkata. While his nine previous films were either period pieces or set outside of the city (Charulata, in fact, sees him returning to period, set in 1870s India), the coalescence of budget and talent finally brought his modern times project to fruition, which he had apparently been wanting to make since his 1955 Palme d’Or winning debut, Pather Panchali. Beyond being simply the story of a woman, Ray constructs an intimate character study that examines an uncomfortably changing social climate, economic pressures, racial injustice, and the moral obligation to do the right thing.
- 8/6/2013
- by Nicholas Bell
- IONCINEMA.com
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