"Every bud, And every blossom, Nods and sways, In the gentle breeze, Rippling, laughing, In wave and billow, The river flows, With carefree ease, The cuckoo roams, From bower to bower, Cuckoo, cuckoo, Cuckoo, she cries, Deep within, My head is yearning, Alas, alas..." This is the story of Charulata (চারুলতা, The Lonely Wife). This 1964 Indian drama film adapted and directed by Satyajit Ray based upon the novella Nastanirh (নষ্টনীড়, The Broken Nest) by Rabindranath Tagore. In 1870s India, Charulata is an isolated, artistically inclined woman who sees little of her busy journalist husband. Realizing that his wife is alienated and unhappy, he convinces his cousin to spend time with her and nourish her creative impulses. He is a fledgling poet himself, and he and Charulata bond over their shared love of art. But over time a sexual attraction develops, with heartbreaking results.
An admirer of the 1901 novella, Ray later said that he liked the novella because "it has a western quality to it and the film obviously shares that quality. That's why I can speak of Mozart in connection with Charulata quite validly." In adapting the novella to the screen, Ray decided to set the film in the 1880s instead of in 1901 and spent many months researching the historical background. For the first time in his career he worked without a deadline both during pre-production and during the shooting. Ray worked closely with art director Bansi Chandragupta and no interior scene was shot on location. All sets were either built or remodeled to accurately portray India in the 1880s. Ray cast Indian actress Madhabi Mukherjee in the role of Charulata, but had difficulty with her owing to her addiction to chewing paan, which stained her teeth black. Because of this Ray had to be careful about what camera angles he used to film her. Since its release on 17 April, 1964, the film is often considered one of Ray’s highest achievements, and Ray once called Charulata his favourite of his own films.
It features Soumitra Chatterjee, Madhabi Mukherjee and Sailen Mukherjee. The performances given by the cast, especially Mukherjee, are movingly poignant. The characterisation of titular housewife is a full-blown exercise in mid-century film feminism.
One of Satyajit Ray's greatest films Charulata, full of sensuality and ironic undertones. A haunting experience, and should have been, coming from afar from a man born to make movies. It's a film that bears all the hallmarks of Ray's best work: gracefulness, exquisite pacing and composition, love for his characters and a deep regard for the power of silence to tell a story. An utterly absorbing and moving drama about the worlds of work and home in 1880s India, and a hymn to unattended love acted with lightness, intelligence and wit. Ray's style is direct, realist and sympathetic. Here is India through impeccably Indian eyes. A masterpiece compared to most movies in India, or anywhere else. Incredibly rich and satisfying. Would easily stand up to multiple viewings.
Simon says Charulata (চারুলতা) receives:
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