Die bengalische Nacht

This film entitled LA NUIT BENGALI was released in English as THE BENGALI NIGHT. It is based on the semi-autobiographical novel by the famous Romanian scholar Mircea Eliade entitled MAITREYI (and later LA NUIT BENGALI), published in 1933, and entitled in its English translation BENGALI NIGHTS. The novel describes the tragic romance between Eliade and an Indian girl named Maitreyi Dasgupta, then aged 16. Decades later Maitreyi learned of the existence of the novel and said that it was inaccurate, and she wrote her own novel in rebuttal in 1974, entitled NA HANYATE, its title in Bengali. It was subsequently published in English as IT DOES NOT DIE. So this story is a highly disputed tale indeed, with two different versions in print by the two lovers. This is, to say the least of it, a rare literary situation. Although the woman's story was already published before this film was made, the information in it was not incorporated into the film, which relied solely on Eliade's account of events. As for Eliade, he was given a scholarship to go from Romania to Calcutta in order to study the ancient Indian language of Sanskrit (in which all the Hindu texts are written) and the genuine Indian Yoga (not to be confused with what people in the West call 'yoga' today). He was able to lodge with the famous Bengali scholar Dasgupta, who had a gigantic mansion, and whose 6 year-old daughter Maitreyi was a prodigy who had already published a volume of poetry and who had been a special student of Bengal's most famous man of letters, Rabindranath Tagore (1861-1941), who had been awarded the Nobel Prize for Literature in 1913. During this period, Eliade spent some time living in a hut in the jungle practising yoga techniques and improving his Sanskrit, but none of that is shown in the film. The film was shot on location in India, in a genuine old mansion, and so it has a tremendous air of authenticity for that reason. But the script of the film is simply appalling, as nothing is explained, and one is left wallowing, trying to figure out what is going on. The beginning of the film is entirely dominated by a magnificent performance by John Hurt as a French journalist doing some feature stories for LIFE Magazine. He has nothing to do with the main story and simply disappears after a while. The lead actor is Hugh Grant as Eliade. He is limp and ineffectual, bad casting. The Indian girl who plays Maitreyi is too old for the part and too arch and knowing, not innocent enough. The film is very badly directed by Nicolas Klotz. The result is a largely incoherent mess, with only its location and atmosphere to recommend it. Hugh Grant's character is shown as an engineer, though not very convincingly, and the cultural and scholarly truths of the story are nowhere even hinted at. The emphasis is put solely on the bizarre romance which springs up between Hugh Grant and the girl. She has a younger sister aged about ten who screams and rants and runs around doing crazy things, but none of that makes any sense, except that we eventually suspect that maybe she is meant to have a crush on Hugh Grant herself and is jealous of her sister. But this is never explicit. Dasgupta, who is called 'Mr. Sen', is sublimely aloof and notices nothing. His wife notices little more, looks beautiful and thoughtful, but we never get to know her at all, and she serves merely as an elegant backdrop. Satyajit Ray is thanked in the end credits, and some of his regular actors appear in the film, and they do very well. But this film is a terrible failure if you know what it was supposed to be, and how good it might have been in better hands.

The beautiful part is that it is based on a true story that shows both the light and shadow in the interplay of Western and non-Western cultures. The less than wonderful part for an American audience (my wife and myself) was the pacing, the cinematography, the rambling philosophical bon mots that didn't seem to go anywhere or have a perspective one could really get a hold of. Not at all a Hollywood product -- a European effort and perhaps better enjoyed by those who enjoy European directors. We didn't watch the whole thing -- too slow, too painful. We found that the DVD's special feature interview with the producer was the best part. It also is about a Westerner's encounters with the Indian culture, but is more accessible.

Allan (Hugh Grant in the beginning of his career) is an English engineer of about twenty-six years old expatriated in India who builds bridges and roads. One day, he got ill and his boss invites him to stay in his huge home with his family (his wife and his two daughters). There, Allan will fall in love with the older daughter Gayatri (Supriya Patrak). However, the abyss between European and Indian cultures and the lack of comprehension and misunderstanding of the Indian culture by Allan will lead the lovers and the Indian family to a tragic end. The story does not situate the viewer in an exact period of the Twentieth Century (maybe in the 50's), but the romance is wonderful and exotic and supported by a great cast. The character of John Hurt has a small participation in the plot, but with a great and intense acting. The actresses who played the mother Indira Sen (Shabana Azmi) and Gayatri (Supriya Patrak) are of an incredible beauty. My vote is seven.

Title (Brazil): "As Noites de Bengali" ("The Nights of Bengalli")

I accidentally stumbled upon this film. I didn't know there was a movie based on one of my favourite books. I read the book twice, and i could still read it a hundred times.

The film is very succinct, presents the main events, but shows very little of the feelings and inner thoughts of the characters, and of the Indian culture and philosophy. The book is much more introspective, deep and painful to read. The book is based on a true story. Mircea Eliade (Allan in the book/movie), a very famous Romanian philosopher (who also wrote the first History of Religions) travels to India in order to discover its culture. There he meets the love of his life, Maytreyi (Gaytri) but the cultural gap between western and eastern civilization gets in their way. The romance ends very badly, leading the two to extreme sufferance.

After many years, Maytreyi and Eliade both become very important writers, and they accidentally meet at a conference. After this event, Maytreyi writes a book with her side of the story.

I liked the casting very much of this movie, but the director could have done much more justice to such a painful romance.

"The Bengali Night" is a very subtle and beautiful film, where Indian culture has the leading role even if Hugh Grant and John Hurt are both excellent. As the film begins, we are introduced to the world of those expatriates living in India, although there are some, like Hugh Grant's character, Allan, who refuse to absorb this very strong and powerful culture. Allan is an engineer who builds bridges and paves roads with his young European mentality. Yet, there are others like Hurt's character, who instead, embrace the culture to the point that they fall into it; become obsessed by it. So, when Allan becomes ill and is invited to stay at the home of his employer, he dives head first, leaving behind his European past, including friends and a girlfriend. It's not too difficult for him to then fall in love with the boss' daughter, Gayatri, who is beautiful, charming, and the perfect "guide" for Allan. However, passion in India between a white man and an Indian woman is not something that is tolerated, and our two lovers are not prepared for the consequences. The film is held together by a wonderful cast, which includes the great Shabana Azmi, one of Indian cinema's greatest stars, along with other actors of Satyajit Ray's team. It was Hugh Grant's first starring role, and his youth and naivety makes his character ever more endearing. Based on a true story between the philosopher Mircea Eliade and Maytrei Davi, who became one of the most important poets of Bengal, the film wraps us up in the flavor and magic of India, and refuses to let go. A beautiful and very powerful film. Phil Ed.