Charulata (India , 1964, 117 min).
CONDUCT, SCENARIO, MUSIC:
Satyajit Ray, based on the novel by Rabindranath Tagore
PHOTOGRAPHY: Subrata Mitra
SETS: Bansi Chandragupta
PRODUCTION:
RDB and Co ( RD Bansal, A. Norman Ghosal) .
PERFORMERS:
Madhabi Mukherjee Sailen Mukherjee, Soumitra Chatterjee, Shyamal Ghoshal .
Satyajit Ray and his heroines
Article (October 2006) Florence Colombani " The World."
In the work of Indian filmmaker, women show their independence of mind against the weight of the Conventions and embodied the turmoil of their time.
Citing his favorite heroines, out of Charulata , Satyajit Ray summarized them all to an "archetype": "Although not as strong than men physically, nature gave women the qualities to compensate for that. I do not speak for all women, but the kind of woman who fascinates me. The woman I love putting in my films is better able to take problems than men. "
Thus, in Mahanagar (1963), is a woman, Arati (Madhabi Mukherjee), who saves her family from ruin by putting himself in selling sewing machines door-to-door . She faces the disapproval of ostentatious her parents - a woman must not be supposed to work - discovers the joys of smoking and cursing a fellow Anglo-Indian while her daughter quietly revises his exams at home. And even if the husband, unsavory, feels threatened and asks what the small degree may serve him well. True snapshot of a rapidly changing Indian society, immersed in the excitement of the early 1960 , Mahanagar is also the exquisite portrait of a woman who surprised everyone by freeing all the conventions. As Charulata or Aparna (who married Apu in the last part of the trilogy), Arati is a woman of character, and an emblem of upheaval of its time.
Since all the work of Ray is worked by the tension between tradition and modernity, by the passage of time and its impact on individuals , it is hardly surprising that women are the The object of their attention the most extreme of its character studies and more thorough. Are they not the first to suffocate under the weight of the conventions, the first, too, to kick over the traces? Not that Satyajit Ray has populated his films of suffrage in madness. Without showing a classic political consciousness, her heroines say, each in its way, a real independence of mind. Thus, the small Durga ( Runk Banerjee ) of Pather Panchali (1955 ) shows his strong character by stealing guavas to enjoy her great-aunt Indir ( Chunibala Devi). Severely reprimanded, Durga is forgiven with the arrival of his little brother just to Apu boy born to erase all the annoyances of his parents. Durga , meanwhile, insists: become a young girl, she will always fly in guava, without ever losing its agility or laughing his insolence discreet.
Bourgeoises dreamy as Charulata or against their idols as Doya (heroin Devi, taken in spite of herself the reincarnation of a Hindu goddess), women designed by Satyajit Ray share a stubborn , determination, intelligence and accompanied by an unusual vitality. If their place in society remains at the margin, if the laws are always those of men, it is still the dream of a world they just sketched, in each film, filmmaker India .
Citing his favorite heroines, out of Charulata , Satyajit Ray summarized them all to an "archetype": "Although not as strong than men physically, nature gave women the qualities to compensate for that. I do not speak for all women, but the kind of woman who fascinates me. The woman I love putting in my films is better able to take problems than men. "
Thus, in Mahanagar (1963), is a woman, Arati (Madhabi Mukherjee), who saves her family from ruin by putting himself in selling sewing machines door-to-door . She faces the disapproval of ostentatious her parents - a woman must not be supposed to work - discovers the joys of smoking and cursing a fellow Anglo-Indian while her daughter quietly revises his exams at home. And even if the husband, unsavory, feels threatened and asks what the small degree may serve him well. True snapshot of a rapidly changing Indian society, immersed in the excitement of the early 1960 , Mahanagar is also the exquisite portrait of a woman who surprised everyone by freeing all the conventions. As Charulata or Aparna (who married Apu in the last part of the trilogy), Arati is a woman of character, and an emblem of upheaval of its time.
Since all the work of Ray is worked by the tension between tradition and modernity, by the passage of time and its impact on individuals , it is hardly surprising that women are the The object of their attention the most extreme of its character studies and more thorough. Are they not the first to suffocate under the weight of the conventions, the first, too, to kick over the traces? Not that Satyajit Ray has populated his films of suffrage in madness. Without showing a classic political consciousness, her heroines say, each in its way, a real independence of mind. Thus, the small Durga ( Runk Banerjee ) of Pather Panchali (1955 ) shows his strong character by stealing guavas to enjoy her great-aunt Indir ( Chunibala Devi). Severely reprimanded, Durga is forgiven with the arrival of his little brother just to Apu boy born to erase all the annoyances of his parents. Durga , meanwhile, insists: become a young girl, she will always fly in guava, without ever losing its agility or laughing his insolence discreet.
Bourgeoises dreamy as Charulata or against their idols as Doya (heroin Devi, taken in spite of herself the reincarnation of a Hindu goddess), women designed by Satyajit Ray share a stubborn , determination, intelligence and accompanied by an unusual vitality. If their place in society remains at the margin, if the laws are always those of men, it is still the dream of a world they just sketched, in each film, filmmaker India .
Intermediate
Article (September 1981) by Charles Tesson "Cahiers du cinema."
As The Music Room (1958) or the wonderful short film Pikoo (1980), the house is the center of Charulata (1964), it is the heart of fiction on which regulate the beating of the scenario. In Charulata , she has a couple. The husband, Bhupati , leaving his young wife Charulata , devotes all his time to write a political magazine in English which he founded himself: The Sentinel. Bhupati welcome home brother Charulata he responsible for the management of his newspaper. At the same time, the program is based on that scenario Amal, his younger cousin. He confided to his wife that mission: to restore full confidence in Charu for his deep desire to write a reality at last. His claim amounts to an admission of impotence, implicit recognition of failure, that have never been able to awaken the desire of the woman he loves. Project rather than twist: it sends Amal where his desire, that their marriage has never been. In retracted position ( Bhupati is not only all its newspaper, but it is also for the other characters in the house, the watchman), Bhupati delegates Amal, both to see him (and thereby enjoy, by proxy, a place he n has never been able to have) only to see him through his wife's desire to manifest.
Scenario perverse desires concede sharing, or otherwise enjoy the possibility of such a division? In all cases, the scenario is risky: if Bhupati fact of Amal through its desire between him and his wife about what he believes is the secret that unites their intimate couple (a community writing), far Amal accept there to represent the desire Bhupati and how will he not called, face Charulata to remember only his own ? (...) The
Bhupati scenario does not unfold in the house, it is the engine, the main fictional agent. Bhupati , owner, will gradually lose all control over its space. It must even he lost his newspaper to be discovered alone, collapsed in printing. Wonderful movie. For printing, venue and even unsuspected hitherto hidden, happens to be in the house. Moreover, Satyajit Ray films home as a large print, belly that swallows everything that comes from the hero (images, sounds, light) and fixed traces. The house is not a character but a body, a surface and a series of bodies whose operation mimics the entire film camera (a black box, camera and projector). It is an eye darted to the outside ( Charu, with his binoculars, watching the passers-through flaps), ear alerted by a sound. Home, body of fiction, is a sensitive body, a subject while receiving, outside as from within: Charu seduced by the voice and the singing of Amal, Bhupati , facing the sea, preferring the sound of waves, one of the presses.
As The Music Room (1958) or the wonderful short film Pikoo (1980), the house is the center of Charulata (1964), it is the heart of fiction on which regulate the beating of the scenario. In Charulata , she has a couple. The husband, Bhupati , leaving his young wife Charulata , devotes all his time to write a political magazine in English which he founded himself: The Sentinel. Bhupati welcome home brother Charulata he responsible for the management of his newspaper. At the same time, the program is based on that scenario Amal, his younger cousin. He confided to his wife that mission: to restore full confidence in Charu for his deep desire to write a reality at last. His claim amounts to an admission of impotence, implicit recognition of failure, that have never been able to awaken the desire of the woman he loves. Project rather than twist: it sends Amal where his desire, that their marriage has never been. In retracted position ( Bhupati is not only all its newspaper, but it is also for the other characters in the house, the watchman), Bhupati delegates Amal, both to see him (and thereby enjoy, by proxy, a place he n has never been able to have) only to see him through his wife's desire to manifest. Scenario perverse desires concede sharing, or otherwise enjoy the possibility of such a division? In all cases, the scenario is risky: if Bhupati fact of Amal through its desire between him and his wife about what he believes is the secret that unites their intimate couple (a community writing), far Amal accept there to represent the desire Bhupati and how will he not called, face Charulata to remember only his own ? (...) The
Bhupati scenario does not unfold in the house, it is the engine, the main fictional agent. Bhupati , owner, will gradually lose all control over its space. It must even he lost his newspaper to be discovered alone, collapsed in printing. Wonderful movie. For printing, venue and even unsuspected hitherto hidden, happens to be in the house. Moreover, Satyajit Ray films home as a large print, belly that swallows everything that comes from the hero (images, sounds, light) and fixed traces. The house is not a character but a body, a surface and a series of bodies whose operation mimics the entire film camera (a black box, camera and projector). It is an eye darted to the outside ( Charu, with his binoculars, watching the passers-through flaps), ear alerted by a sound. Home, body of fiction, is a sensitive body, a subject while receiving, outside as from within: Charu seduced by the voice and the singing of Amal, Bhupati , facing the sea, preferring the sound of waves, one of the presses. The walls of the house gather the light that is deposited, reverberating with sounds they are both the mirror, the witness for his loss, and the guardians of his memory. Because there is depth of field here that sound, distance and perspective to be synonyms of reach. And if Bhupati is blind, is that the house is constantly put that eye on the characters, the omniscient sentinel. Haunted house, the deadly power, as in the third Three Sisters portion of , but where would the characters that would haunt the house. This eye is also one Satyajit Ray door on his characters, watching them live, move his eyes. As if they were to him through the house, a tomb for the eye.
A Woman of No Importance
Article (June 20, 1981) by Louis Marcorelles "The World "
Charulata of Satyajit Ray ( conducted in 1964 ), is set in Calcutta , Then the capital of the empire of the Indies , the last third of the nineteenth century , but scarcely seen: as a piece of S trindberg , we remain confined space bourgeois passions repressed, of sexuality frustrated for a muted violence of feelings and passions. Nothing broke, the tragedy fades, life goes on. Beings suffer, and society moves around, the world changes. The twentieth century advanced slowly in the distance.
The major concern for the Indian high society Calcutta, at least for some exclusively male elite, is the next election Westminster, where will pit the Tories of Disraeli and Gladstone's Liberals . Gladstone triumph. That promise, consider these significant, better days ahead for India which are not taken sufficiently into account, London the legitimate interests.
Bhaputi , publisher of The Sentinel newspaper , sacrifice any life to defending the right cause, and the first timid the modest Charulata , came from the countryside to the city. The film opens with powerful images of female exile, enslavement to the demands of the home. Charulata embroiders a B, the initial of her husband. She observes the telescope passersby in the street, a fact which seems to cut it. She slips into the library. One day the husband, as if seized by remorse, throws in his path a young cousin came to study, a lover of art and poetry, with a mission to distract the tender creature.
The banter takes only too well, Charulata seized the chance to theft, open to life, art, to elsewhere. Amal, his partner, sends the ball, but, frightened, disappears when he will have to meet the growing passion of Charulata . Meanwhile, property has gone wrong for Bhaputi , cheated by a close relative and at the same time revealing the drama of his wife. A conclusion as motionless, arrested, where the images are frozen, suggests that the couple is reformed, without illusions.
Charulata is adapted from a story by Tagore , filmed in black and white chalk making faces more sensual, more bodies found. The scenery in this film plays a more prominent role, and primarily this immense wooden bed, which symbolizes the comfort of lives unfulfilled. No colonial society, or more exactly colonized, has probably pushed too far the mimicry of the customs of his model. Yet any servility is absent: a desire for protection, absolute elite Bengali be a challenge.
That the modern viewer is perplexed, once topped the emotion generated by this classic triangle against the backdrop of India, does not detract from the truth Film. It's a bit English colonization , art of conquest smooth, which deserves analysis. The art of filmmaker Satyajit Ray if Western falsely close to us, our sensitivity, we disturbed. We admire this wonderful embroidery, this pilgrimage to the roots of a culture and an environment that was his, while being slightly reticent, this heartfelt tribute to the tradition of narrative in the Anglo-Saxon as Hollywood no longer knows the practice.
remains a gap, lack standing to give her your particular work Ray : the director always stops at the precise second when situations become too obvious, where the fuzzy feelings lead to violence of passion, where Chekhov , if you will, join Strindberg. We camped on the Brink: A sign of a malaise not overcome?
Preview: Charulata (1964) Satyajit Ray (Length: 14 min 46 sec)
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