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The Home and the World (1984)
"Ghare-Baire" (original title)

 -  Drama  -  21 June 1985 (USA)
7.7
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Ratings: 7.7/10 from 568 users  
Reviews: 5 user | 14 critic

When the movie opens, a woman is recalling the events that molded her perspective on the world. Years ago, her husband, a wealthy Western-educated landowner, challenged tradition by ... See full summary »

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Cast

Complete credited cast:
...
Sandip Mukherjee (as Soumitra Chattopadhyay)
...
Nikhilesh Choudhury
Swatilekha Chatterjee ...
Bimala Choudhury (as Swatilekha Chattopadhyay)
Gopa Aich ...
The sister-in-law
Jennifer Kendal ...
Miss Gilby (as Jennifer Kapoor)
Manoj Mitra ...
Headmaster
Bimala Chatterjee ...
Kulada (as Bimal Chattopadhyay)
Indrapramit Roy ...
Amulya
Rest of cast listed alphabetically:
Rasik Banerjee
Shashanka Bhattacharya
Malati Bol
Debnath Bose
Haradan Bose ...
(as Haradhan Bose)
Govinda Chakravarti
Arup Pal Chowdhury
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Storyline

When the movie opens, a woman is recalling the events that molded her perspective on the world. Years ago, her husband, a wealthy Western-educated landowner, challenged tradition by providing her with schooling, and inviting her out of the seclusion in which married women were kept, to the consternation of more conservative relatives. Meeting her husband's visiting friend from college, a leader of an economic rebellion against the British, she takes up his political cause, despite her husbands warnings. As the story progresses, the relationship between the woman and the visitor becomes more than platonic, and the political battles, pitting rich against poor and Hindu against Moslem, turn out not to be quite as simple as she had first thought. Written by Anonymous

Plot Summary | Add Synopsis

Plot Keywords:

india | based on novel

Genres:

Drama

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Details

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Release Date:

21 June 1985 (USA)  »

Also Known As:

The Home and the World  »

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(Eastmancolor)
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Did You Know?

Trivia

Based on the book "Ghare-Baire" by Rabindranath Tagore. Director Satyajit Ray had previously written a screenplay from this book, but had sold the rights to a group who never filmed the story. 30 years later, Ray rewrote the screenplay for this film. See more »

Connections

Referenced in Z Channel: A Magnificent Obsession (2004) See more »

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User Reviews

A beautiful, morally complex, moving evocation of a woman's dilemmas of love and politics in 1907 India.
13 September 2002 | by (Arlington, MA, U.S.) – See all my reviews

The Home and The World is an excellent film by the great Bengali director Satyajit Ray. Based on a novel by Tagore, the drama focuses on the personal and political dilemmas faced by a wealthy Bengali woman in 1907 as her husband and his best friend vie for her affection and her political loyalties.

Very few films successfully focus on the ethical complexities of social movement organizing (The Official Story, Matewan, and Mapantsula are rare exceptions; The Way We Were has some brilliant flashes along these lines, but then veers away from these themes all too quickly). We, the viewers, are initially drawn to the viewpoint of the charismatic political organizer, just as the protagonist is drawn to him and out of the restraints of traditional purdah. Far from painting the husband as a vile monster to revolt against, however, the husband encourages the increasing independence of the protagonist, and becomes the loving conscience of the film, even as it exposes the limitations of his apparent passivity.

As the attraction between the protagonist and the organizer mounts, so does the tempo and the tension of the political struggles in the village. As the protagonist learns more and more about the world beyond the secluded part of her palatial home, we, the viewers, begin to understand more and more the complexity of the cross-cutting tensions between: England and India, modernism and tradition, Hindu and Muslim, rich and poor, men and women, leadership and rabble-rousing, means and ends, and love and infatuation.

All this could have been ponderous or didactic, but it's decidedly not, and one of the wonders of the film is that the political issues are woven so deftly into the story of a believable unfolding love triangle. Most movies have a difficult time portraying any motivation for two characters to `fall' in love - this movie manages to portray changes in the relationships between all three main characters with such precision and intensity that I fully believed, and cared deeply, about each one.

The acting is extraordinary, and the cinematography, as is usual in Ray's films, is breathtaking, subtly accentuating the movie's themes of liberation and loss, and the interplay between the two.

Ray said his goal as a director was the same as Renoir's, to show that everyone has their reasons. As perhaps the most warmly compassionate of directors in all of world cinema, he succeeds brilliantly with this film.


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