IMDb रेटिंग
8.1/10
7.6 हज़ार
आपकी रेटिंग
एक अखबार संपादक की पत्नी अपने चचेरे देवर की ओर आकर्षित हो जाती है, जो उसी की तरह साहित्य में रुचि रखता है.एक अखबार संपादक की पत्नी अपने चचेरे देवर की ओर आकर्षित हो जाती है, जो उसी की तरह साहित्य में रुचि रखता है.एक अखबार संपादक की पत्नी अपने चचेरे देवर की ओर आकर्षित हो जाती है, जो उसी की तरह साहित्य में रुचि रखता है.
- निर्देशक
- लेखक
- स्टार
- पुरस्कार
- 8 जीत और कुल 2 नामांकन
Madhavi Mukherjee
- Charulata
- (as Madhabi Mukherjee)
- …
Shailen Mukherjee
- Bhupati
- (as Sailen Mukherjee)
- …
Subrata Sensharma
- Motilal
- (as Subrata Sen)
फ़ीचर्ड समीक्षाएं
Satyajit Ray is one of my very favorite film makers, and I especially love his "Apu" Trilogy and "Home and the World", all four of which I would probably rate 10/10 or possibly 9/10. I saw "Charulata" ("The Lonely Wife") on videotape in the closing days of 1999.
"Charulata" clearly espouses S.Ray's distinctive style with very strong and realistic characters subtly developed, rich immersion into the period of the film (in this case around the time of the Indian Mutiny in the 1860s or 1870s, as I recall from history), having of a very few settings that are each portrayed in detail, and compelling and introspective camera shots. I am not surprised that some people are reminded, in viewing S. Ray's films, of Russian author Chekhov; I think of the paralysis of the characters in "The Cherry Orchard" and their juxtaposition against a lovely estate that they are in the process of losing.
In this film there isn't the same faded glory, but the lovely home decor and liberating gardens do contrast starkly with the paralysis of the wife. Bright and with clear literary talent, she is stuck as but a home fixture for her well-intentioned but unseeing husband. The husband has laudable passion for his newspaper and the truth, but is sadly ignorant of the companionship and time that any relationship, particularly a marital one, demands.
I would probably rate this film 8.5-9 out of 10. For me, it didn't have the strong emotion of any of the other films I mentioned above or the intricate story of "Agantuk" ("The Stranger", in color and which I believe was his last film). But overall, "Charulata" is another masterpiece film by Satyajit Ray with a quiet and humble, yet powerful, presentation, rather uncommon in contemporary film.
"Charulata" clearly espouses S.Ray's distinctive style with very strong and realistic characters subtly developed, rich immersion into the period of the film (in this case around the time of the Indian Mutiny in the 1860s or 1870s, as I recall from history), having of a very few settings that are each portrayed in detail, and compelling and introspective camera shots. I am not surprised that some people are reminded, in viewing S. Ray's films, of Russian author Chekhov; I think of the paralysis of the characters in "The Cherry Orchard" and their juxtaposition against a lovely estate that they are in the process of losing.
In this film there isn't the same faded glory, but the lovely home decor and liberating gardens do contrast starkly with the paralysis of the wife. Bright and with clear literary talent, she is stuck as but a home fixture for her well-intentioned but unseeing husband. The husband has laudable passion for his newspaper and the truth, but is sadly ignorant of the companionship and time that any relationship, particularly a marital one, demands.
I would probably rate this film 8.5-9 out of 10. For me, it didn't have the strong emotion of any of the other films I mentioned above or the intricate story of "Agantuk" ("The Stranger", in color and which I believe was his last film). But overall, "Charulata" is another masterpiece film by Satyajit Ray with a quiet and humble, yet powerful, presentation, rather uncommon in contemporary film.
10Himadri
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.
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.
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."
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."
10davidals
**POSSIBLE SPOILERS**
Lacking the formidable cultural legacy of his earlier Apu trilogy, CHARULATA (Ray's 11th film) lacks nothing else if Ray's overall style was derived from neo-realism; CHARULATA proved that in his own uncluttered way he was also a master of style and subtle elegance.
CHARULATA was perhaps Ray's most technically stunning work, featuring an elegant - if moody - story shot in a manner that finds Ray experimenting a bit. The story is set in an upper-class, intellectual household in 1890s India, and the period setting is rendered in great detail giving the film a lush, living beauty that (thanks to the stunning cinematography of Subrata Mitra) never crosses over into stuffiness. In a handful of scenes, a French new wave influence can also be seen primarily at the very end, and also in an earlier scene featuring the title character's recollections (in a quick-moving montage) of childhood memories.
Based on a story by Rabindranath Tagore, the film explores marital complacency, as Bhupati (a wealthy publisher and political idealist, devotes the majority of his time to his publishing business, and to political interests, and grows increasingly isolated from his wife, Charulata. Charulata as an attractive upper-class wife, is essentially expected to manage the household, and not much else, and is increasingly both lonesome (Bhupati is a generally pleasant enough husband, though also a severe workaholic who is rarely around, and - in his sexual politics - he is a product of his time) and intellectually restless.
In the midst of this, Bhupati's younger brother Amal arrives Amal, a romantically inclined bohemian and recent college graduate who is searching for work while also pursuing literary ambitions, and has temporarily moved into the household. Amal and Charulata are instantly drawn to each other first as intellectual companions, before an awareness of attraction is recognized. The two are plainly aware of the impossibility of the unrequited relationship, as Bhupati after discovering than an employee has been embezzling form him is then devastated to discover that his wife is turning away from him.
To highlight the increasing distance between each of the three characters, CHARULATA is formalistic in it's look (with the handful of well-placed new-wave-inflected scenes adding textural complexity and emotionalism), with the classical touches of the cinematography underscoring the characters' ever-increasing distance from each other. Exploring sexual and class politics - with great depth and complexity - in a historical setting (while in its' exploration of idealistic, nationalistic politics making subtle connections to the present-day handling of the same issues in Bengali society), with flawless performances from all, CHARULATA is a beautiful and haunting masterpiece.
Lacking the formidable cultural legacy of his earlier Apu trilogy, CHARULATA (Ray's 11th film) lacks nothing else if Ray's overall style was derived from neo-realism; CHARULATA proved that in his own uncluttered way he was also a master of style and subtle elegance.
CHARULATA was perhaps Ray's most technically stunning work, featuring an elegant - if moody - story shot in a manner that finds Ray experimenting a bit. The story is set in an upper-class, intellectual household in 1890s India, and the period setting is rendered in great detail giving the film a lush, living beauty that (thanks to the stunning cinematography of Subrata Mitra) never crosses over into stuffiness. In a handful of scenes, a French new wave influence can also be seen primarily at the very end, and also in an earlier scene featuring the title character's recollections (in a quick-moving montage) of childhood memories.
Based on a story by Rabindranath Tagore, the film explores marital complacency, as Bhupati (a wealthy publisher and political idealist, devotes the majority of his time to his publishing business, and to political interests, and grows increasingly isolated from his wife, Charulata. Charulata as an attractive upper-class wife, is essentially expected to manage the household, and not much else, and is increasingly both lonesome (Bhupati is a generally pleasant enough husband, though also a severe workaholic who is rarely around, and - in his sexual politics - he is a product of his time) and intellectually restless.
In the midst of this, Bhupati's younger brother Amal arrives Amal, a romantically inclined bohemian and recent college graduate who is searching for work while also pursuing literary ambitions, and has temporarily moved into the household. Amal and Charulata are instantly drawn to each other first as intellectual companions, before an awareness of attraction is recognized. The two are plainly aware of the impossibility of the unrequited relationship, as Bhupati after discovering than an employee has been embezzling form him is then devastated to discover that his wife is turning away from him.
To highlight the increasing distance between each of the three characters, CHARULATA is formalistic in it's look (with the handful of well-placed new-wave-inflected scenes adding textural complexity and emotionalism), with the classical touches of the cinematography underscoring the characters' ever-increasing distance from each other. Exploring sexual and class politics - with great depth and complexity - in a historical setting (while in its' exploration of idealistic, nationalistic politics making subtle connections to the present-day handling of the same issues in Bengali society), with flawless performances from all, CHARULATA is a beautiful and haunting masterpiece.
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 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.
क्या आपको पता है
- ट्रिवियाRay once called Charulata his favorite of his own films.
- गूफ़when Bhupati shows Amal his weekly newspaper 'The Sentinel', it can be seen that it is published every Saturday and the date shown is 7 April 1879 but actually 7 April 1879 was Monday.
- भाव
Amal: All done with studies, exams, professors, cutting classes.
Charulata: What's left? Foolishness and mischief?
Amal: Poetry. Rhythm. You know, I was thinking.
Charulata: What?
Amal: All of life is like a rhythm. Birth, death. Day - night. Happiness - sorrow. Meeting - parting. Like the waves on the ocean, now rising - now falling. One complements the other.
- इसके अलावा अन्य वर्जनThere is an Italian edition of this film on DVD (Extra Movie in "IL LAMENTO SUL SENTIERO"), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.
- कनेक्शनFeatured in Drôles d'oiseaux (2017)
- साउंडट्रैकGod Save The Queen
(uncredited)
Music by Thomas Augustine Arne
Played on the Piano by Amol (Kumar Basu)
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
- How long is The Lonely Wife?Alexa द्वारा संचालित
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइट
- भाषाएं
- इस रूप में भी जाना जाता है
- The Lonely Wife
- उत्पादन कंपनी
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- US और कनाडा में सकल
- $77,820
- चलने की अवधि1 घंटा 57 मिनट
- रंग
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- पक्ष अनुपात
- 1.37 : 1
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