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.
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 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.
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 his wife, Dolan (Paromita Chaudhuri). His sister-in-law, Tutul (Sharmila Tagore) comes to stay with them for a few days. She is given a tour of the life they lead - in restaurants, beauty parlours, clubs and race courses. But then crisis strikes in the form of agitation at the factory just before the shipment of a prestigious export order and Shyamalendu is held to blame. With the help of a shady labour officer, Shyamalendu averts the crisis by declaring a lock-out at the factory after staging a false riot. For his 'efficient' handling of the crisis, Shyamalendu is promoted and there is congratulations all around - except from Tutul, who has understood the vacuousness of Shyamalendu's world and has hated it. Written by
This is Part 2 of the Calcutta trilogy. Stepping forward from the unemployed rebel of The Adversary, we have a view of the workaday life of a rising executive Shyamal Chatterjee in a British owned fan manufacturing company (Peter Fans) in Calcutta. He has climbed rapidly to become the sales manager and is eying a directorship.Their son is schooling in a boarding in Darjeeling. There seems hardly any cloud of discontent in their monotonously blissful routine of office politics and evenings spent at clubs and restaurants.A sister-in law (Tutul by name) visits from Patna and we see the routine of innocuous flirting. The sister is only mildly impressed by the prosperity and adroit social climbing of her brother-in-law.
We get a nostalgic and somewhat drab recap of that period when there were only two brands of cars made in India, fans were more ubiquitous and air conditioning a rarity, television were still a decade ahead, and the villainies were also on a humbler scale, even in Bollywood. The world population was half the current figure. The wheel of life ambulated at a more leisurely pace. The ceiling fan and bicycle are appropriate symbols of this fleeting era..
And then there is real big trouble when a costly consignment of fans meant for Iraq is found liable for rejection on account of faulty painting. Shyamal's future is in jeopardy because the sales agreement includes a heavy penalty clause for late delivery. He has come a long way from the clever student and humble schoolteacher that he was as he conspires with the personnel manager to brew up labor trouble culminating in a temporary lockout and an explosion in the factory which leaves the guard badly, but not fatally, wounded. So what if he had died, joke the conspirators complacently, so many die in Calcutta every day, and the company would have sent a wreath. Both achieve their coveted career advancements, thus cashing in on an adverse situation.
The movie ends as Tutul returns the watch lent to her by Shyamal.
Not a masterpiece but certainly a vignette and a memorable slice of real life. No character is wasted and Harindranath Chattopadhyaya, as the worldly wise wog director of the company is particularly amusing as he gives a trade-mark performance. Ray is incapable of dishonesty or exaggeration for the sake of popularity and he paints the era as drab as it was.
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