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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 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 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 »
A fascinating dissection of gender roles in the age of modernity.
I loved this film. Madhabi Mukherjee is gorgeous and so engaging, with the virtuosic ability to represent the stresses of a changing Calcutta through a simple glance. Mahanagar is a fascinating dramatic case study of the collision of modernism and traditionalism that produced a sociocultural duality/dichotomy in twentieth-century India's urban landscapes.
We see all sorts of manifestations of duality in Mahanagar. The tension-cum-rivalry of Arati and Subrata is, of course, the most obvious manifestation. However, we also have the duality of the new- generation Arati/Subrata and the old-generation Sarojini/Priyogopal (Subrata's mother and father) and Arati, who wears traditional clothing and speaks Bengali, versus Edith, the English-speaking Anglo-Indian in Western dress. These instances of duality speak directly to the moment in which things began to make a 180-degree shift in India, when women became the breadwinners of the household and traditional gender norms became subsumed by sexual liberation.
With a leading lady as precise as Mukherjee, Ray was able wrap these complex coterminous processes up in a relatively tidy package. Mahanagar is essential viewing.
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