Charulata

As cinema appears to become ever more loud and brash, a work as delicate, subtle and understated as this may easily pass unnoticed, or mistaken as insipid. That is a great shame, since this is obviously a great masterpiece. Set in India in the last century, Charulata is trapped in a dull, stifling marriage. What starts off as innocent flirting with her brother-in-law soon sets off emotions that none of them, decent though they all are, can really control. There is no adultery as such - the betrayal is all in the mind - but the trust implicit in marriage is broken, and the future can only be faced with uncertainty.

This is a film of great grace and elegance, and also of considerable wit. But underneath the surface charm is a great seriousness. As always, Ray depicts the development of the characters with great insight and sensitivity, and coaxes fine performances from his cast. Western critics, in discussing this film, often draw parallels with the works of Chekhov or of Henry James, but Ray's inspiration was actually the great Bengali writer Rabindranath Tagore, on whose short novel this film was based. As a piece of film-making, it is absolute perfection - a real gem.

Satyajit Ray's Charulata (1964) is considered to be a masterpiece and monument of timeless art and is also accepted as one of the best ever adaptations of a literary piece. The film is an adaptation of a short story named Nashtaneer by Rabindranath Tagore. This review contains Ray's subtle use of metaphors while handling the plot which deserves appreciation along with its other technical perfections.

The metaphors used in this film are countable but very much catchy and pleasant if related properly with each other. Ray successfully employed the metaphors within the constraint of film techniques. The mentionable metaphors are Charu's opera-glass, caged birds, carpet-shoe and Sentinel newspaper etc. In the very poetic opening sequence of the film is not bereft of any intention by the director. The use of opera-glass vision or binocular-vision (which is masked-shot to be precise) is very grabbing. Charu sees the world through opera-glass. Even she sees her husband Bhupati with it once. The immediate and swift zoom-out after the gaze is praiseworthy. In the film, Charu sees the world through it but whoever she sees goes out of her limited vision. She cannot but forced to let them go out of her vision. By the end of the film, she once again takes refuge to her glasses. The focus of her glasses (a boat) moves on. The only person static in her opera-glass is Amal as seen in the garden sequence. But Amal sneaks off at last rendering Charu's opera-glass a constant metaphor of both escapism and a means of escape. Two times in the film, caged birds are seen within the frame of a shot's composition. That is a perfect metaphor for representing Charu and Amal to some extent as if they can fly but within a limited confinement where flying does not even mean anything fruitful. The carpet-shoe metaphor is a perfect example of Charu's growing weakness for Amal. Charu knitted the pair of shoe with meticulous attention for Bhupati. This was a sign of her loyalty to her husband. But she presents it to Amal and it was clear that she was presenting her affinity for Amal by doing this. When Amal leaves, she angrily collects the pair of shoe from Amal's room but there is no indication that she will give it to Bhupati either. The metaphoric indication is clear _ Charu can never present her love to anyone anymore. The Sentinel newspaper is last but not the least metaphor here. It shifts its representational position which makes it an interesting metaphor. At first it was a symbol of Bhupati's workaholic mind and was appreciable. Then it turns itself as an image of political consciousness of Bhupati and thus assumes a negative connotation to the viewer. It is because Bhupati's obsession with politics fruits a chasm in a social relationship between him and his wife Charu. Then the newspaper becomes a symbol of Bhupati's failure. At the last freeze shot, a copy of the newspaper is seen which connotes itself to be nothing more than a scrap and thus a metonymy of a broken house. Among other metaphors, betel and Bishwabondhu magazine are prominent ones.

It is literally very tough to find flaws with editing of such a meticulously knitted film. In fact, there is none to be mentioned. The transition between scenes is smoothed by very charming fade-ins and fade-outs. There are cuts but torrent of the plot remains uninterrupted. It must be mentioned that superimposition used in order to ensure the transition between scenes were very successful. The most interesting was the last three freezes. It is at once appreciable and bears evidence of cinematic craftsmanship of Satyajit Ray. He was accused by a critic that Charulata has been a bad adaptation. But within the technical sophistication of a film; the necessity of deducing, adding and altering is technically and literally undeniable. Thus the subtlety of editing makes Charulata one of the most entertaining and pioneering films in Bengali of all times. The editing aids to condense the story within an accepted time frame. In a nutshell, the crafty editing makes Charulata even critics' favourite as well.

Charulata displays a subtle story about the contradictions facing a cultivated and intelligent - yet idle - woman in a male-dominated society. Charulata's husband is a very rich man, a liberal intellectual and the editor of a journal "The Sentinel", dedicated to the "propagation of the truth". Unfortunately, the husband, though an honest man and an idealist, fails to give enough attention to his wife Charulata. The latter is interested in romantic Bengali literature, not politics. Her intellectual perspective thus clashes with that of her husband, who looks down on literature, and in particular on that literature which relates to love.

Through a unique understated sentimental experience, which forms the core of the movie, Charulata reveals to herself and her husband a power to act on the world. After a series of difficulties that affect her husband's newspaper and her own sentimental self, Charulata finally takes a step forward and proposes to collaborate with her husband. However, the director makes us doubt that love and work can be reconciled by referring to the title of the Tagore literary work the movie is adapted from, the "broken nest".

Contrary to what my comments above may suggest, this is NOT a movie with a heavy and obvious political message. The cinematographic style is thus often reminiscent of Jean Renoir's "Une Partie de Campagne", with, in particular, the use of a swing. The movie has little dialogue and uses the subtlety of symbols and the actors' facial expressions to convey what the characters go through. The characters are the center of the story as individuals, not archetypes, but it is because they are so credible and complex as individuals that they can make us think about universal questions.

Satyajit Ray is so good at staging his scenes from inside the minds of his characters, and I think it is why he was so successful at crossing over to foreign audiences - his empathy for the people behind his characters. He always reached to get beyond the simple exchange of dialog - watching a Ray film is watching him carefully invade the mind of his creations. Their flaws, their desires, their loves all seem so universal coming from his camera.

The photography is one of the greatest joys of Charulata, as in most of his films - the camera feels so free, so unbound to any set formula or rule of how to operate it, the joy of the operator (Ray himself) so apparent. It glides throughout all of his films, playing the eyes of some omniscient presence the characters are sometimes semi aware of. We are jolted when they look into the camera and sing, but because we have been already lulled into his world it feels completely natural that they would sing to us.

Charulata is slower, more obtuse than some of Ray's earlier films, and it feels longer. I was underwhelmed by the story, which I felt took too many left turns. But Charulata is a persistently fascinating film, particularly the almost out-of-body performance by Soumitra Chatterjee.

The film is the masterpiece from Satyajit ray. Even he confessed that it was his best work. The film is obviously the slowest that I have ever seen but its beauty lies in the fact that it gradually develops the relationships and emotions which is very difficult to be filmed. The story revolves around a woman named Charulata who has an inherent talent of writing but is not able to make use of this. She finds it very difficult to pass her time. Brother of her husband comes to live with them and then she started to find solace in his company. How relationships gradually changed as the time passed is portrayed beautifully in this wonderful film from a master filmmaker.

PROS:

The best thing I found in the film was the acting by Charu. Her eyes said more than was required. Cinematography too was nice and noticeable. The development of affection between two people is the key strength here. The film is definitely slow paced but it certainly kept me interested every minute. The thing that I liked in the cinematography most was the very slow movement of the camera around the two people when they were talking. The story is good and normal but the way it was perceived by Ray and his power to display it is fantastic.

MESSAGE: "Some things just happen. You cannot have control over them."

VERDICT: "Most recommended Indian Film."