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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.
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 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 »
When a corrupt cop takes away Narsingh's taxi license after an illegal car race, Narsingh finds himself reduced to poverty living in the outskirts of Kolkata. A practicing Sihk, he finds himself having to accept work from a dubious business man, Sukhanram, who employs Narsingh in dope smuggling. Given his reduced circumstances, Narsingh finds welcome assistance from a fellow villager, Josef, and his Christian schoolteacher sister, Neeli. Narsingh finds himself attracted to Neeli's altruism, but mistakes it for true love - when Neeli's love is for an untouchable cripple. Meanwhile, Sukhamran's prostitute, Gulabi, sees Narsingh's attempts to right the wrongs around him, and she sees through Sukhanram's duplicity when Sukhanram tries to convince Narsingh to sell his beloved taxi in exchange for a share of the profits in his next enterprise. With difficulty and the assistance of Narsingh's taxi partner Rama, Gulabi convinces Narsingh to break off the deal, but then Sukhanram takes his ...Written by
I saw this somewhat slow, B&W 1962 film at London's National Film Theatre a couple of years ago, during their excellent Satyajit Ray retrospective. It displays the qualities which most Ray fans like about his earlier films: the camera is thoughtful, and the time it takes to reflect on the characters is useful time for the viewer to do the same. The story is interesting as well, and much of the scenery and dialogue provides a fascinating insight into 1960s Bengali life, e.g. references to quinine (an antimalarial compound whose chemical derivatives, which are more potent, are used in modern prophylactic antimalarial preparations). Highly recommended as an introduction to Ray's best era. I personally haven't seen his Apu trilogy e.g. Pather Panchali, but I know that they have been criticised for being too sentimental. Abhijaan is nothing of the sort: it is a well-made exploration into an eventful period of a 1960s Indian taxi driver's life.
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