Tag Archives: Satyajit Ray

The Holy Man/ Mahapurush (Satyajit Ray, India, 1965)


Gurupada Mitter (Prasad Mukherjee), an elderly advocate who’s mourning his recently deceased wife, meets Brinchi Baba (Charuprakash Ghosh), a holy man, on a train while he’s travelling with his daughter Buchki (Gitali Roy) and falls under his spell.  Brinchi Baba claims to have lived since the beginning of time; he tells of his encounters with Buddah, his dialogues with Plato, his witnessing of the Crucifixion (‘It’s a cruci-fact!) and how he taught Einstein that E=mc2. Buchki also becomes enthralled to the Holy Man; or is she merely pretending to be? The young man she’d been seeing, and who’d been hoping to propose but not quick enough with it, sees his beloved slipping away from him and decides to do something about it.

The Holy Man is a wise and witty film, with all the humour of a vaudeville sketch but with all the wisdom regarding human beings, their foibles and their failures, that Ray is justly celebrated for. Generous and open-hearted, the film is also very satirical and very funny without being cutting or mean. The actors play together beautifully, and to our delight are not above mugging or double-takes.  Charuprakash Ghosh, looking like a big fat baby surprised by middle-age and unable to keep off the sweets, is superb as The Holy Man.

The film feels very sixties. It has, for example, a time-motion display of the relationships between people (how our hero got to meet our heroine) that could have come straight out of any trendy Pop film of the period. Yet, The Holy Man also demonstrates a much greater and more subtle command of the medium than one generally sees, say, in the films of the period by Richard Lester  (Help! A Funny Thing Happened on the Way to the Forum), whilst being just as much fun. A lovely, funny and wise film.

One in a series of new blu-ray re-releases of Satyajit Ray that are very much worth seeing, some of which I’ve written on: The Big City, The Lonely Wife, The Coward.

José Arroyo

The Lonely Wife/ Charulata (Satyajit Ray, India, 1964)


The Lonely Wife/ Charulata

(Satyajit Ray, India, 1964)

If you cannot have faith, trust; if you do not know what is true, how can you make sense of the world and how can you live? These are some of the questions asked by Satyajit Ray’s great film, The Lonely Wife/ Charulata.

The setting is an upper-class milieu of Bengali poets, journalists and politicians at a time, the 1870’s, when India is still under British rule and issues of freedom and self-determination are every-day passionate concerns. Bhupati (Sailen Mukerjee) is a rich intellectual who personally finances a political newspaper, The Sentinel. His wife, Charulata (Madhabi Mukherjee) is childless, intelligent, beautiful and very talented at both embroidery and writing. Bhupati is so engrossed in politics and in his newspaper that he is neglecting his wife. He is a loving husband and aware of this so he asks Charu’s brother, Umapada (Shyamal Ghosphal) to come work for him and bring his wife Manda (Gitali Roy) to keep Charu company. Manda, however, does not share Charu’s interests. When younger cousin Amal  (Soumitra Chaterjee) arrives, the husband is delighted and asks him to keep her company whilst trying to get her to write, which the husband assures him, his wife is very talented at.

This sets the scene for the drama that unfolds: Amal will write and so will Charu, to her husband’s surprise and delight. However, Umapada will end up stealing such sums of money that it ruins Bhupati’s newspaper and his press; a greater betrayal yet will be that the once lonely wife, lonely no more, in fact brimming with emotions she heretofore had only found in novels, will start embroidering slippers for her cousin rather than for her husband.

The Lonely Wife dazzles with the expressiveness of its restraint. The film begins with a close-up of a woman embroidering what we will find out is her husband’s initials before zooming out to show us the bed she’s sitting on and the richness of the bed and the room. The camera follows her as she wanders through her magnificent house, all alone with her embroidery and the books she lovingly strokes. The film’s windows are closed off against the heat but seem semi-barred and begin to suggest a prison. She hears a bird. She’s framed by her house, sumptuous but overwhelming in its immensity: it takes her a while to get to the drawer holding her opera glasses. Finally, she peeks at the world outside, with its music and it drums, its workers. Life is available to Charu only through opera glasses and  barred windows. Nonetheless she eagerly follows the action outside, going from to room so she can follow the events of a world she has no access to. She’s a rich and beautiful woman aching for any kind of adventure but  lonely in her luxe and with only books for company. The film’s beginning is a beautiful, wordless opening scene with a flowing camera that allows us to discover even as it frames our perception


The film has many moments of sheer loveliness: the scenes in the swing, with the camera fixed so that Charu’s face is always at the same distance from it; and with that exquisite little edit onto her feet as they lightly touch the ground; and then the camera fixed on the swing as we see the brother-in-law, younger, more literary, more poetic, more romantic than the sturdy, steady, loving husband of hers, immersed as he is in politics and the smell and lure of his printing press.

Later, near the end, a melodramatic scene worthy of Douglas Sirk: when she finds out her brother-in-law has left the house, and by implication his feeling that leaving her lonely is a perfectly good price to pay for his cousin’s well-being, the doors swing, the storm enters the house, a perfect poetic symbolization of the storm raging over her heart and, as the film cuts to the husband witnessing this thunderous show of emotion for his cousin, over their own relationship and indeed their world. Madhabi Mukherjee has the seductive and compelling presence of a great star and one can’t help looking at her when she’s on screen. But Sailen Mukerjee is the greater actor and his hurt and distress at realizing his wife loves not just another but his own kinsman is deeply moving.

Earlier on, in a magnificent speech, he’d expressed to his cousin his distress at being swindled by his brother-in-law:

‘Such a trusted person, my relative, no, more than that, a friend. If that man can betray so badly…I put all my trust in him. I feel literally suffocated. What’s owed I’ll pay but…if this is how a man treats another, a person who I trust, then what have we got? What is there to live for? Trust, faith, are these all empty words, Isn’t there anything called truth. Is everything fake, an illusion. A person this close, I couldn’t trust him either? How could people actually get along then or live for that matter? My whole world seems to be crumbling’.

It will crumble further still. The film’s told us as much via camera movement. Throughout the film, a recurring shot begins from the side of the marriage bed and travel right into the room. The marriage bed is the starting point but it is not the centre and the world extending from it flows in all kinds of directions it shouldn’t.

In the last scene, the husband returns to the home but can’t bear to look at his wife: he looks to the side, he looks down. She says come in. He looks at her but quickly looks back down. She smiles, repeats her invitation, extends her hand. He comes in but doesn’t yet look at her. Each extends a hand to the other, but before the hands meet, the frame freezes, and we get something like one of those missing scenes from the restored version of Cukor’s A Star is Born that is reconstructed only through pictures held together by the soundtrack, like the flow of narrative is fractured by isolated pictures of melancholy instances: a close-up of hands not meeting, a picture of them in the barred balcony of their home, a solitary servant on one side, a strewn newspaper on the other. The fracturing of the flow of movement subtly underlining what the sub-title will scream at us: A Broken Home.

It’s a great movie, ostensibly Ray’s favourite of his own works and based on Nastanirh/ The Broken Nest, a novella by Rabindranath Tagore, who also wrote the song that accompanies the wonderful sequence on the swing and is said to be a principal creative influence on the director.

It’s been shown as part of the Ray retrospective at the NFT and is, along with The Big City and The Coward, available to rent from Lovefilm.

José Arroyo

The Coward/ Kapurush (Satyajit Ray, India, 1965)

The Coward

This story of a man too cowardly to follow his heart is a short but very beautiful film. A screenwriter (Soumitra Chatterjee ) looking for material in rural Darjeeling gets stranded in a small-town petrol station when his car breaks down; there are no trains and no taxis. A rich manager of a tea plantation (Haradhan Bandopadhyay) gives him a lift and brings him to stay to his house for the evening. There he meets his wife Karuna (Madhabi Kukherjee ) who to his shock turns out to be his old love, the woman he’d been too cowardly to marry. Years before he’d been a poor and struggling writer; she came from a rich family and was willing to give everything up for him. But he was too afraid of the burden those class differences would place on him, particularly in a culture where ‘caste’ and ‘keeping face’ are so important. Now he’s successful; she’s given up her painting and is living a very comfortable life but married to heavy-drinking boor. He wants her back but will she take him?

The film is disciplined and restrained but full of feeling. Flashbacks return us to what happened in the past; first the break-up, then the first meeting. However, what happens in the flashbacks also gets refracted onto the film’s present in that the screenwriter’s acquiescence to social convention, what lost him Karuna, are still evident in him, still sadly his central characteristic in relation to Karuna: he tries to win her in secret, in silence, behind closed doors, by running away; he constantly defers to the husband and never once publicly declares himself for her — even his attempts to win her become a display of his cowardice. The film has other themes knit into the major one, artistic life vs bourgeois conformity, the ideological structures and strictures of caste and class, but the perspective through which we’re shown these social and structural problems is an existential one of individual choice and responsibility.

What Ray gets out of camera movement, a glance, a hand, even a shadow moving behind a closed door, is extraordinary and should be of interest to anyone interested in cinema. Unless you’ve learned to be attentive to the various ways cinema can show and tell, you might not notice what a tour-de-force of directing the opening scene is: there’s nothing showy about it until you realise that the first scene is also the first shot, all 4 minutes and seven seconds of it.

The first  image is a composition of a man smoking on the right. An open hood of a car is on the left of the screen. A sign, slightly out of focus, saying ‘welcome’ is in the middle. There’s a little window where the garage’s office is in the background and also out of focus. The man paces as the credits unfold then the dialogue starts when the credits end. We’re told the car is broken and won’t be fixed for a while. The protagonist goes into the office but the camera waits outside the window, theatrically, as if we were witnessing a play. We see his problem is the car won’t be fixed for a while and in the meantime he’s got no way to get out of town and possibly no place to stay.  The camera then gets closer, seeming to expand so that the film frame is now also the window frame. We get a closer view of what we will be shown to be two of our protagonists, two opposing social types, the artist and the businessman, and two potential rivals in love, though as we can see by who needs and who is in the position to offer help, the battle has already been lost. The tea planter offers the screenwriter a place to say because his brother is a Doctor: they’re of the same class. Then the camera pulls back again to allow for the conversation of our two protagonists, pulls back even further once the planter offers him a place to stay, then even further practically to where we started so that we see the Welcome sign from Esso in focus, and seeming much larger. Then the husband and the former lover get into the jeep all without a single cut for the  four minute and seven seconds duration. In the meantime, we’ve been told who these people are, what they’re doing, where they’re going, and the whole scene is set for the drama to follow. It’s extraordinary.

Looking at that opening scene which is also, yet also much more than, the opening shot, and so much less showy and attention-seeking than comparable ones by Welles, Scorcese, or the like, you realise that The Coward is also, but also much more than, the story of ‘boy wins girl, boy loses girl, boy wins/loses girl’. It’s a film that creeps up on you slowly, sadly, full of intelligence and regret, showing life to be such that only a pill or a drink makes it bearable, and shown with a technique that is unobtrusive; but it all creeps up on you and at a certain moment, after you’ve understood the themes and felt for and with the characters,  you realise and go ‘Wow’; a film where the exclamation, the explosion, is not shown on the screen but created in you.

A special treat is the extraordinary beauty and the delicate performance of the great Madhabi Kukherjee as Karula.

The film, along with The Big City and The Coward, has been shown as part of the Ray retrospective at the NFT. If you don’t have access to the retrospective, Ray films are available to rent from Lovefilm, this one in a lovely blu-ray transfer from Artificial Eye.

José Arroyo