Played by Madhabi Mukherjee, the titular character of Charulata is a … Satyajit Ray exprima à plusieurs reprises que Charulata - autant le film que le personnage - constituaient son sommet indépassé de cinéaste. This is not a tragic love story of soulmates kept apart by the deep injustice of circumstances or society. Charu's ending is less tragic, but it carries just as strong a sense that there is no returning to her old life. This is where the film loses its depth. It can be summarized by one dialogue uttered by Chaiti's friend, Arnobi's (Rii), in unnecessarily accented Bengali - "Sotti kore bol, tui or sathe shute chash, tai toh? Charulata lie une amitié profonde avec Amal, le cousin écrivain de Bhupati, llibre et amusant, venu séjourner chez le couple. But the story goes on to show how guilt pangs over her intimacy with Amal make Chaiti sever all her ties with him, but still she can't resist meeting him when he finally comes to Kolkata from London. Si on retrouve une fois de plus l’influence de son mentor, Jean Renoir - comment ne pas penser à La Partie de Campagne de ce dernier lors de l’inoubliable et fondamentale scène de balançoire de Charulata ? It is both unsettling and compelling, and it is what makes Ray's movies so deliciously rewarding of rewatching. Tagore's Nashtaneer was one of them. Unlike movies made by mere mortals, where emotions are too often spelled out in explicit, expository dialogues, Ray requires you to divine characters' internal states of mind from expressions and circumstances. Ritu proves once again that given an opportunity, she can stun everyone with her understated acting. In Charulata, it is captured in (among other ways) a scene very early in the movie, in which the titular Charu (Madhabi Mukherjee) peers through lorgnettes between the slats of the shuttered windows, watching a stereotypically ordinary Bengali man strolling by. « Maqbool (2003) | Ce que j’ai essayé d’exprimer est la richesse de cet esprit." In both Ray's Ghare baire and Charulata, a man concerned about the loneliness and intellectual satisfaction of his young, intelligent wife attempts to broaden her sphere by introducing her to a vibrant outsider. Bhupati, le mari, intellectuel et éditeur engagé, est un bhadralok, c’est à dire un bourgeois bengali vivant sous une profonde influence occidentale, en littérature, en philosophie, en science et aux idées politiques libérales-humanistes et donc, forcément, tourné vers la lutte pour l’indépendance. He even refuses a generous opportunity to travel and study in Europe. Charulata. As for the catalyst of Charulata's awakening, Amol himself is detached, sarcastic, even bratty. One of the most touching visual metaphors contrasts Amol's confident, fluent writing with Charu's initial halting effort; when he writes, the words flow out of the pen in an effortlessly beautiful script, while her words scratch and blot the page. Please enable JavaScript if you would like to comment on this blog. Director Agnidev also makes sincere efforts to portray Chaiti's sympathy-evoking mental state with appropriate dialogues and small nuances of expression. To Amal she becomes "Charuulata 2011". Ce début de film donne aussi le ton du film : une formidable étude psychologique sans la moindre démonstration, sans le moindre psychologisme surligné par trop de dialogues. C’est que la femme de la Renaissance bengali, si elle est encouragée à plus de liberté et d’indépendance, doit "expérimenter" seulement dans le cadre claustrophobique de l’andarmahal, la demeure familiale de type victorien. Tagore's Nashtaneer was one of them. Without the presence of the sublime mental connection of love between them, the movie becomes a story of a rich, lonely wife's adulterous affair with her husband's brother. Ray’s CHARULATA … Poetry in motion Director: Satyajit Ray 1964 Writers: Satyajit Ray (script), Rabindranath Tagore (original story, the film is an adaptation of Tagore’s Nashtanir) Cast: Soumitra Chatterjee, Madhabi Mukherjee, Shailen Mukherjee, and others. Indraadip Das Gupta's background score has a dreamy quality to it, but at times it's like the stuff you hear in thrillers. So, when a film named "Charuulata 2011" releases, which is also based on Tagore's story, it's not unnatural for expectations to grow. He sings Rabindrosangeet - even his "Ami chini go chini," nominally a love song to a foreign woman, is delivered with a sarcastic, mocking air. Charulata, dont l’histoire se situe vers 1890, dépeint un milieu que le réalisateur connaissait bien car très proche de sa propre famille. Indradeep Dasgupta Starting off on an interesting note, eventually this jumping to and fro gets a touch jumbled up. Agnidev Chatterjee The story was immortalized with Ray's celluloid classic "Charulata". The pleasure of Charulata, and indeed the pleasure of any Ray film, lies in the density of content and meaning that is packed into a movie of relatively few words. Un an après Mahanagar qu’elle avait déjà illuminé de sa présence, de sa beauté et de son talent, l’actrice de 22 ans réussissait une performance exceptionnelle, fusionnant avec son personnage, révélant par ses simples regards ou quelques attitudes corporelles une foule de sentiments divers, contradictoires et contrariés, illustrant à merveille les propos de Satyajit Ray : "La beauté d’une femme comme Charulata est en grande partie la beauté de son esprit. Bipin Kumar Vohra Main Cast: In Charulata, it is captured in (among other ways) a scene very early in the movie, in which the titular Charu (Madhabi Mukherjee) peers through lorgnettes between the slats of the shuttered windows, watching a stereotypically ordinary Bengali man strolling by. From the moment Chaiti realizes that Amal is her husband's cousin, Sanju, who's going to stay at their place, the film starts to drag. And in both movies, the counterpoint of relationships is a proxy for the the complex dance of East and West. Director Agnidev Chatterjee has loosely followed the main storyline, merging it with his own. The closing scene of the movie shows Charulata and the trust-lost Bhupati, hesitantly reaching out to each other, just when the camera freezes, showing us the uncertainty.That's how uncertain I feel, writing about this beautiful film,which has put me in a complete loss of words. Among the many trademark expressions of Satyajit Ray's artistic genius is the exploration of a singular imprisonment:  that which confines the minds of bright young women in the households of rich, intellectual, Victorian-era high society. Chaiti, depressed with a miscarriage and the lack of physical intimacy with her husband, befriends Amal ( Dibyendu Mukherjee) on Internet. The result is a movie-watching experience more akin to voyeurism than to being told a story. Ray's films are packed with overloaded symbols, subtle cues of meaning, visual metaphors, and allegories that operate on multiple levels. Mar 02, 2012 The movie concludes on an ambiguous note, without resolution for Charu and Bhupati. From time immemorial, bards and authors have written classics on women's loneliness and identity crisis. D’un côté, la prachina, l’épouse conservatrice auto-centrée, passant ses journées allongée sur le lit à lire des romans populaires, et représentée ici pleinement par sa belle-soeur, Manda. De l’autre, la nabina, la femme moderne, ouverte à la culture. Release: From time immemorial, bards and authors have written classics on women's loneliness and identity crisis. Charu, douée pour l’écriture, est naturellement davantage portée vers la seconde mais le poids des habitudes sociales ainsi qu’un manque de confiance en elle l’empêchent de se libérer complètement. The result of this experiment is both affirming for Charu, when her writing is successfully published, and devastating, when her growing love for Amol threatens her identity and her marriage. Charulata's love for him reflects  her own immaturity more than a real emotional connection. All through the second half, it's Chaiti's guilt versus her desire for Sanju. L’art de la mise en scène de Ray est à son sommet, point d’orgue d’une première partie de carrière éblouissante qui mène de La Trilogie d’Apu (Pather Panchali/La Complainte du Sentier, 55, Aparajito/L’Invaincu, 57 et Apur Sansar/Le Monde d’Apu, 59) à ce Charulata, en passant notamment par Jalsaghar (Le Salon de Musique, 58), Devi (La Déesse, 60) ou Mahanagar (La Grande Ville, 63). Their coming together is symbolised in this dream of a joint publication albeit with two separate sections in two different languages – English for him and Bengali for her. Charulata lie une amitié profonde avec Amal, le cousin écrivain de Bhupati, llibre et amusant, venu séjourner chez le couple. Love becomes synonymous with sexual desire. Posted at 10:28 PM in 1960s, Art films, Regional, Very good (but not favorite) | Permalink. With Bikram being preoccupied with his editorial responsibilities, Chaiti keeps herself busy with expensive saris, filing nails, watching TV and, despite being a highly educated modern woman, does nothing on her own. Unfortunately, the songs too don't stay on. The camera stays on her, gives her all the attention and she basks in it. Movie Review: It wouldn't be fair to the cast and crew of the film if one starts to compare Ray's film with this. Today's Charu is Chaiti (Rituparna Sengupta), a young, beautiful and intellectual wife of a very wealthy newspaper editor - Bikramjit (Arjun Chakraborty). ", Director: Madhabi Mukherjee portait d’ailleurs chance au cinéaste puisque, exactement comme Mahanagar, Charulata remporta un Ours d’Argent au Festival de Berlin. It takes only a tiny gesture to release a bird from its cage; coaxing her back in is another matter entirely. Cet Etat de l’Inde connut au 19ème siècle une véritable renaissance intellectuelle, artistique mais aussi politique dont les traces y sont encore aujourd’hui pleinement visibles. | Himmatwala (1983) ». Image Courtesy: www.mubi.com. Somptueux portrait de femme, magnifique mise en scène, Charulata doit aussi son succès à la superbe interprétation de Madhabi Mukherjee dans le rôle titre. Renseignements : Musée (04 92 29 37 00) / CSF (04 93 52 31 29 - 06 64 88 58 15), 13ème FESTIVAL CSF : MERCREDI 11 FÉVRIER 2015 - CURE, 2006 - Les Journées du Cinéma d’Amnesty International, 2004 - Grands Classiques du Cinéma Chinois. Main He demands of his audience a great deal of thought, empathy, and theorizing. Producer: After Amal leaves, Charulata and Bhupati are together on a seaside and she suggests a joint effort to restart the newspaper. In both movies, the foundations of identity and home and marriage are shaken, with catastrophic results. Ours d’Argent au Festival de Berlin 1965, l’histoire de la belle Charulata, mariée à Bhupati, un intellectuel engagé éditeur d’un journal au Bengale à la fin du 19ème siècle. It's completely a Rituparna Sengupta film. Charu's husband Bhupati (Sailen Mukherjee), insted of inviting her to join his world of politics and newspaper editorials, indulges Charu's love for literature though he does not share it. From the very start, the director has played with the timeline of the film. Music: You will actually fall in love with Dibyendu Mukherjee's dubbed baritone; but otherwise he is just a presence to complement Chaiti's character. Ray’s sumptuously-appointed Victorian interiors stifle sumptuously-dressed young Bengali women, and hint at a kind of oppression particular to the upper classes. Despite these efforts, the film is all about sexual desire and lacks the soul, which makes it incomplete. Her lonely heart finally finds the right company. Arjun Chakraborty makes an earnest effort, but turns melodramatic in some scenes.

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