Kapurush

This melancholy little chamber piece from the director of 'Pather Panchali' also ends beside a railway line; once again holding out the possibility of a new departure.

It has much of the mood of the epilogues of 'Une Partie du Champagne' and 'Les Paraplues de Cherbourg', but this time comprises the entire movie, with the sadly recalled happier times just brief flashbacks.

The most fascinating quality about Kapurush is its brevity – the brevity of the film runtime (74 mins), its terseness in dialogues and the concision in expressions delivered by the protagonists of this film. It is a remarkable craft.

It's hard to imagine for any film maker of international repute to deal with a subject like Kapurush and tackle in-depth human emotions and consciousness, so succinctly and precisely, in just about 74 minutes. Some filmmakers would take alteast the normal 120-140 minutes length to be able to deal with a subject like Kapurush in order to give a wholesome cinematic form. Satyajit Ray took just 74 times to tell a story revolving around 3 main characters, depicting their psyche and intense mental turmoil – all unspoken but using subtle eye movements and small body gestures. The film is the finest example of optimal usage of speech, gesture, expression and length. The film highlights Ray's prowess in the economy of speech and cinematic resources. Kapurush inevitably epitomizes Ray's mastery and control over every aspects of film-making.

The ending of the film is undoubtedly the most exciting part - as with many of Ray's films, it leaves the audience to draw several conclusions, and as a result makes you think. And that's what makes Ray's films so unique – they are all subtle, calm and composed films – but after you have seen them, they bore a deep imprint on your mind and makes you think. Kapurush is one of them.

Unfortunately, Kapurush is a highly underrated film, perhaps because Ray is impeccable and had consistently produced masterpieces. As a result of this, a film like Kapurush got overshadowed. For any other world-class film-maker of today, it would have been a jewel in his or her oeuvre. Well, as I always say – Satyajit Ray is the God of Cinemas....period.

This is the story about regretting one's past life choices. Amitabha Roy is traveling from Calcutta to the country to visit his brother-in-law and to write, he's a tv screenwriter. Along the way he has car trouble and while at the mechanic's a friendly and rather round tea plantation owner named Bimal Gupta, insists on hosting him at his home while his car is being prepared.

"You want shelter and I want company."-Bimal

"You won't believe this but we get on average less than one Bengali in distress per year."-Bimal

They have a congenial drive in the rain to Bimal's plantation where Amitabha meets Bimal's wife who is none other than his ex-girlfriend Karuna. The two don't say anything to Bimal about knowing one another and have to endure an evening of Bimal pushing smokes and alcohol on Amitabha while Karuna knits quietly by the fire.

We see the end of their (Amitabha and Karuna's) relationship in a flashback. Then Amitabha asks Karuna if she is happy in her marriage. He tells her he must know, he never got married and he never could ask her forgiveness...he told her that everything seemed so pointless and Calcutta so boring.

"There's just one thing I couldn't do, fall in love again."-Amitabha "I didn't have the courage then, but now I do. Leave him...and come with me."

"You think you know my husband after one day? You don't know him."-Karuna

The next day is probably my favorite section of the film as Bimal and Karuna take Amitabha for a tour and picnic via their Jeep. It's the most visually appealing part of the film...and emotionally it adds to the ache as you can feel Amitabha's pain and regret and you can just about hear his what if.

While not my first Indian film by any means, it was only my second Satyajit Ray film as I had seen his film Devi (The Godess) previously. Like Devi, there is wonderful cinematography in this film and I enjoyed the slow moments...especially those that focused on facial expressions. Beautiful film that expresses ache and regret in such a straightforward way. I feel like it is an excellent cautionary tale.

(1965) The Coward/ Kapurush (In Bengali with English subtitles) DRAMA

Adapted from the short story ""Janaiko Kapurusher Kahini" by Premendra Mitra music, co-written and directed by Satyajit Ray that tells about an inspiring screenwriter, Soumitra Chattopadhyay as Amitabha Roy (also known as the Coward) by chance meeting an ex-former flame, Karuna (Madhabi Mukhopadhyay), and he continues to pursue for her affections despite her already married with an already successful owner Bimal Gupta (Haradhan Bandyopadhyay). Throughout the entire movie, viewers get to witness flashbacks how the two first met and what drove them apart.

It is not just a movie about a young man vying affections for a former flame, for it is also about class, culture and principle. I love the civil discussions that does not involve murder. This is the sixth of fourteen films actor Soumitra Chatterjee collaborated with writer/ director Satyajit Ray.

This Satyajit Ray movie, made in 1965, is virtually unknown here and while it's not one of his great masterpieces it is very fine and well worth seeing. "The Coward" is very much a chamber piece with really only three main speaking parts. The great Soumitra Chatterjee is Amitabha Roy, the screenwriter who finds himself stranded in a remote backwater after his car breaks down. He is 'rescued' by a friendly plantation owner, (Haradhan Bannerjee),, who invites him home for the evening but when he gets there he discovers the plantation owner's wife, (the equally great Madhavi Mukherjee), is his old love he let go years before. He still carries a torch for her but she seems indifferent to him.

Is Chatterjee the coward of the title for not committing himself to Mukherjee when he had the chance or is she the coward, unable or unwilling to face up to her feelings in the present? In just seventy minutes Ray presents us with a devastating character study as he peels away layers from each of the three protagonists revealing the feelings and the frustrations beneath. (He's also not afraid to tackle issues like colonialism and the caste system). In the grand scheme of things this may be 'minor' Ray and yet it is a film that will stay in your memory long after it's over.