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Calcutta based screenwriter Amitabha Roy is traveling to Hashimara in north Bengal partly to visit his brother-in-law and partly to do research for what will be his third film. En route ... See full summary »
A group of Calcutta city slickers, including the well-off Asim (Soumitra Chatterjee), the meek Sanjoy (Subhendu Chatterjee) and the brutish Hari (Samit Bhanja), head out for a weekend in the wilderness.
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.
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 »
Calcutta in the early 1960's. Bhambal supports his wife Arati, his parents, and two children. Money is tight, so Arati goes to work. She's successful and enjoys it, but this untraditional step throws the household into chaos: her in-laws initiate a "cold war" of silence and disapproval. When Bhambal loses his job, her working is essential; he loses self respect, and the gulf between them widens. Arati questions whether to keep her daughter in school. At work, her friendship with Edith, a Euro-Indian who smokes, swears, and uses lipstick, brings Arati close to impertinence with her genial boss. Her job is imperiled, she acts impulsively, and who will understand her actions? Written by
Jaya Bhaduri's only film with Satyajit Ray. See more »
When Priyogopal (Subrata's father) goes to visit his student Anupam Roychowdhury to ask for money he is shown having a conversation with Anupam in his office. When he is explaining his circumstance the camera shows him only sitting on a chair with his walking stick. In the very next scene when all the three characters are shown (third one being Anupam's wife ) the top of his walking stick has changed direction. The round bit on top was towards the right before and is turned to the left in the very next scene. See more »
[to her husband]
You would not recognize me if you saw me at work.
See more »
Mahangar captures the middle class culture of post-independence
Calcutta effectively. The movie shows the emotional crisis of a family
caught between family tradition and increasing expenses. The
husband-wife relationship starts unraveling under the stress of brand
new corporate identity and financial comfort the wife discovers. Its
interesting how the other family members come to terms and make peace
with the changed dynamics when they see their own gratification with
the higher salary. Ray has done an exceptional job in uplifting the
role of the Indian wife and depicting an almost perfect superwoman
character rising to the occasion and being the pillar of support at
home and at work. Throughout these changes in lifestyle, she continues
to rely upon her husband for moral support. The ending is well scripted
in their current dire situation, the couple finds mutual confidence
and solace to continue the struggle and dream.
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