"Meghe Dhaka Tara" tells the tragic story of the beautiful daughter of a middle-class refugee family from East Pakistan, living in the outskirts of Calcutta under modest circumstances. ... See full summary »
Amitabha Roy (Soumitra Chatterjee), a sriptwriter has a breakdown near a tea-estate and he is offered a place to stay by the estate manager (Haradhan Banerjee) at his bungalow. When he ... See full summary »
Shyamalendu (Barun Chanda) is a successful executive at a fan company where he is expecting a promotion shortly. His life revolves around his work and socialising with colleagues along with... See full summary »
Untouchable shoemender Dukhi comes to the Brahmin's and asks him to arrange his daughter's engagement. The Brahmin belongs to a higher caste. He wants Dukhi to work for him (and for free) ... See full summary »
Sen Gupta, a doctor who only treats upper-class patients, is forced to confront his own moral and medical beliefs as he discovers rural India during an unexpected stop at a village. He ... See full summary »
Gangacharan is the new Brahmin of a village, where he assumes various duties: teaching, organizing religious events, and trying to prevent epidemics. But in that year 1943, war is raging (... 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
If, at some point in the future, Pather Panchali cannot fulfil its duties as Satyajit Ray's masterpiece, Mahanagar can step up and fill in the position. Or perhaps the two films can co-rule, as they compliment each other so nicely. Pather Panchali is the simple, straightforward masterpiece and Mahanagar is the more ambitious and complex work. The first is Ray's La Strada and the second his La Dolce Vita.
The Big City is a subtle, flowing work about a young housewife (Madhabi Mukherjee, who would also star in Ray's Charulata) in a middle-class family who finds a job when her father-in-law needs a new pair of spectacles. The family is very conservative, and this upsets everyone. Her husband's manhood is somewhat insulted, her father- and mother-in-law (who both live with the married couple in a rather small apartment) feel that it's just not right, and her son thinks he's been forgotten. The only one who supports her is her younger sister-in-law; she sees her as a role model. The husband (Anil Chatterjee) tries to get her to quit, but, when he loses his own job, he changes his mind quickly. Now she becomes the breadwinner, and he is effectively castrated.
This could have been a little, humble film, like many of Ray's works. But here he decides to examine a huge portion of his own culture, setting up many opposites and studying them closely. We have the husband and wife, man and woman, old-world conservatism and new-world progression, young and old, employer and employee. The list goes on. The depth of this film is nearly endless, and I'm sure it would hold up to any number of repeated viewings. The only flaw that I can see is a somewhat contrived climax - Ray had this problem in a few of his films.
I do have to give special praise to the two leads. Mukherjee and Chatterjee are just brilliant in the film. The supporting cast is also uniformly excellent.
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