Bimal is a taxi-driver in a small town. His taxi is his only companion and, although very battered, it is the apple of Bimal's eye. The film shows the love of taxi driver Bimal and his pathetic vehicle Jagaddal.
In this adaption of the Ibsen stage play, an idealistic physician discovers that the town's hot springs are dangerously contaminated. But with the community relying on the spa for tourist dollars, his warnings to the falls for deaf ears.
A well-off family is paid an unexpected, and rather unwanted, visit by a man claiming to be the woman's long-lost uncle. The initial suspicion with which they greet the man slowly dissolves... See full summary »
A young college graduate is struggling to find a job. He lives in a flat with his younger, employed sister, revolutionary brother and widowed mother. The strain of the situation ultimately causes him to hallucinate.
Set in the contentious 1950s, the film's plot is structured around the rivalry of two radical theatre groups. One is lead by Bhrigu, the other by Shanta. Shanta's niece Anusuya participates in Bhrigu's work to the disapproval of her own group. When the two groups join together for a production, Shanta deliberately sabotages it. Bhrigu and Anusuya both discover they are both refugees separated from their country (Bangladesh) and they fall in love. Eventually Anusuya, scheduled to marry Samar and move to France, decides to stay with Bhrigu. Written by
A hard to follow but subtle story of two independent theater troupes and the developing attraction of one woman for the director of the other troupe. The restrained (sometimes stiff) acting is a bit overshadowed by the extraneous song and dance numbers so prevalent in Indian film.
At another level, given the then recent history of turmoil in South Asia after independence, this film can be read as commentary on the messiness of democracy and the demands of making art. Here mixing democracy and art fails because of individual whims and resentment.
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