Kanchenjungha

This movie is Ray's first

1. Colored movie 2. Movie whose script is written by Ray himself 3. Movie whose story duration is only one day.

After Kanchenjungha Ray made a number of B/W movies until 1973 when he made second colored movie "The Distant Thunder." In most of his career Ray used to make movies out of novels and stories written by famous BENGALI writers. E.g. his best known works of APU TRILOGY (Pather Panchali, Aparajito and Apur Sansar) are actually movie version of Bibhutibhushan Bandyopadhyay's novels. In the same way he made movies out of Nobel Laureate Rabindranath Tagore's stories and novels (e.g. Three Daughters, Charulata and Ghare-Baire). But this is one of the three movies whose writing credits fully goes to Ray himself (other 2 are Nayak and Agantuk). In all these three movies he in someway tries to speak about his own thoughts and philosophies of life via the characters of these movies. And of course all of these 3 movies are great works of Ray.

Indranath Choudhury (Chhabi Bishwas) along with his whole family goes to the beautiful hilly city of Darjeeling to spend vacation. Members of his family and some other characters of the movie start reacting differently influenced by the immense beauty and power of Kanchenjungha (Highest pick of India, also it is one peak of the mighty Himalayas). Anima (daughter of Indranath) confesses her secret love affair to her husband and assures him to amend the relationship for the betterment of Tuklu (their daughter). Labyanya Roy Choudhury (w/o Indranath) becomes worried for her husband's plan of giving their daughter Monisha's marriage to a more materialistic guy (Banarjee). Ashok, a tormented poor young man also refuses to accept any job offer from Indranath. In fact the mesmerizing effect of Kanchenjungha on the characters of this film is done with incredible perfection. On my judgement, Kanchenjungha along with Nayak are the best movies made by Ray. I also rate those films as two great movies ever made in film history.

This is not meant as an insult, but this Ray film comes off a bit like an episode of "Love Boat". I really mean no disrespect, but on the old TV show, you had several different couples who all had a story and they all had that common link of working it out on vacation. Here, instead of in a boat, it's in the mountainside where various Indians are vacationing. Most of them are family members but there are also others whose stories end up intersecting with them. There is the family patriarch and his wife, the daughter they want to marry off and the man who she is not in love with, the nice but poor suitor, the husband and wife working through a case of infidelity and more.

Like so many of Satyajit Ray's films, this one is about middle and upper class Indians and their everyday problems. The key to these films is the acting--the realistic acting and the connection the audience makes with these real folks. In many, many, many ways, these films are nothing like the Bollywood films of today--and there is no singing and the fairytale-like plots of many of the newer films is totally absent. Realism is the key--and a bit reminiscent of Ozu's films about ordinary but likable folks. While "Kanchenjungha" is not one of his more famous films and its plot a bit too ordinary, I think it's actually one of his best films--full of realism and heart--but also not everyone's sort of film.

Synopsis: Kanchenjunga is not a story. It comprise snapshots of various human characteristics like pride, simplicity, carnal desires, thoughtlessness, romance, heroism and above all triumph of human spirits over conventional, social idiosyncrasy. All this happens in the hill station of Darjeeling, in the lap of nature with the picturesque eastern Himalayas in the backdrop.

In a nutshell, Kanchenjungha is a film about a wealthy, classy family: their views, experiences and approach towards life with the central theme revolving around a prospective matrimonial alliance between the younger daughter of the family and a well-established consultant.

The Film: The screenplay begins by presenting the last day of the vacation for the Chowdhurys headed by Raibahadur Indranath Chowdhury (Chhobi Biswas). The opening scene is a collage of shots, which establishes different members of the family and their respective modus operandi. The melodious grandfather clock announces 4"o clock in the background.

We find Indranath keen to visit the Mall in anticipation of a positive consequence of schema related to his younger daughter, Monisha's (Alakananda Ray) alliance with his newly found prodigy Mr.Banerjee (N.Visanathan). His wife Labanya (Karuna Banerjee), a timid, sensitive lady taking time to wrap-up last minute packing. Her brother Jagadish Chatterjee (Pahari Sanyal), an ardent bird watcher in this film consciously avoids Indranath's speculation by taking refuge in a book. Indranath's only son enacted by (Anil Chatterjee) hurries to meet his date while the elder daughter Anima (Anubha Gupta), a suave, stylish woman receives and promptly hides a correspondence in her purse. We could get a glimpse of her nervous glances revealing a possible secretive endeavor amidst marital sanctity. Her husband Shankar (Haridhan Mukherjee) looks laid back and sarcastic with mixed feelings towards the latest groom-hunting process initiated by his in-laws. There lies an underlying current of tension between him and his wife that gets confirmed by his advice to Monisha about not to get married without falling in love citing the ineffectiveness of his own status.

Cut to a parallel sequence of an elderly, middle-class man exhausted of climbing up the stairs to the Mall with his humble nephew Ashok (Arun Mukherjee) who apparently is searching for a job.

It is mentionable that the background of all the above characters, their thought process and behavioral traits have been brilliantly presented through series of well conceived dialogues. Yes, only dialogues. No third person narratives. No visual manifestation in terms of flash back, dream sequences etc. In fact, the master storyteller has been able to generate such an evocative dialogue sequences that at the end of the film, the audience acquire full capacity to judge each and every character in the light of respective rationale.

It is also noteworthy that Ray's characters never surpass the humane status quo. They reflect relevant cognitive behavior and contextual influences. Be it "Siddartha" in Pratidwandi or "Arindam" in Nayak, one can never expect Ray's protagonists molded in typical ubermanesque image in stark contrast to the so-called Heroes of Hollywood and Bollywood.

Kanchenjungha substantiate that. The elitist, urban Mr.Banerjee asserts boastfully about his professional and materialistic achievements. He even confesses about his clandestine foreign affairs while wooing his ladylove Monisha. This refined gentleman also depicts a prosaic approach towards conjugality and life in general. Towards the end he displays an extremely liberal and tolerant attitude, which is commendable in the realms of dominating, patriarchal association.

Although we see Monisha mostly in pensive, escapist mode, we also get to catch her in rare vivacity while interacting with Ashok --- a chapter, which hints at the potential of romance between the wellborn Monisha and Ashok of humble existence, who transcend commonality by disobeying the archetypal narcissistic Indranath Chowdhury.

The Anima-Shankar track provides an in-depth analysis of a marriage going haywire due to lack of understanding and interpersonal rapport. Through a thought-provoking, evocative conversation between the two we witness the gradual transition of the couple in pursuit of a fulfilling married life post admission of their respective peccancy – Anima indulging into an illicit love-affair and Shankar imbibing ancestral traits like gambling and mindless extravagance.

The promiscuous son perfects the art of flattery and triviality in the romantic surrounding of Darjeeling.

The ever cheerful, simplistic and benevolent Jagadish portrays the perceptive ornithologist, who is detached from worldly desires but plays his part well in comprehending the nuances of familial situations.

After a lifetime of unconditional subjugation to her husband, Labonya ascends to an assertive, inspiring parent.

Even Chhobi Biswas had his uncharacteristic vulnerable moments when he tries to justify his accurate decision-making capability to his uncertain wife or displays childish exuberance while talking to Ashok.

The brilliant soundtracks right from the Lepcha song to the appropriate background score like the bird whistle, noisy interlude of the radio or jingle of bells tied to the yaks contribute immensely to the dimensions of the mise-en-scene.

Beside, Ace editor Dulal Datta did an exceptionally well rendition in terms of synchronizing multiple character-sequences in perfection without compromising on the pace of the movie.

Any write-up on Kanchenjungha would remain unfinished if it doesn't mention the incorporation of 'nature' that accentuated the varied moods of the film -- An overcast evening to suggest unfavorable circumstances, mist to render underlying tension and sunshine to portray agreeable settlement. Finally the mighty Kanchengha with all its splendor depict celebration of hope and aspiration.

However, Ray has managed to remain an aloof and neutral presenter through out the process of the film, which adds to the aesthetics of this cinematic masterpiece.

A classic not to miss.

If this movie were an ibsen play (like enemy of the people was) it would be a one act play. Its power comes from the firm pencil stokes of the sketch that is the film. And it is a film about the tiniest of all characters in it- the (suitable) girl that's fresh as a yellow mountain flower.

Satyajit ray uses the elements as symbolism in his films. He does so quietly here. The gentle sound montages (sply the raspy and raucous sound in a supposedly genteel holiday resort ) are used to draw attention to elements and turns in the smooth plot. And the mountain ranges are used as powerful visual metaphor.

The last day of the family's stay at the resort has come, the ranges of snowcapped Himalayas are still obscured by clouds. The view is reputedly spectacular and nobody knows if a glimpse of the Kanchenjungha peak is possible before they leave. The Suitable boy has not yet proposed to the youngest daughter of a patriarch moneybags , and everyone is hoping he will today. Her sister, who married unhappily and has continued an affair she started before her wedding must decide what to do about it. The brothers of the patriarch chase after birds of different kinds, while an old tutor seeks to get his nephew a Job with the patriarch..

Complexly created simple tale of everyday life.

a truly underrated masterpiece.as a child growing up in a Ray-worshipping family i'd always been told about this gem,but as a child and an adolescent it never made a deep enough impression upon me.after a few hundred truly excellent movies and twenty years later one late night viewing opened my eyes .figuratively ,i mean!i think i needed to find out WHAT a good movie is before truly appreciating kanchenjungha. almost the best performances of their careers from all the artistes in the movie.veteran actor Chhabi Biswas gives the performance of a lifetime as Raibahadur Indranath .Ray has commented elsewhere that some characters such as Raibahdur Indranath Chowdhury here,and the Zamindar Bishwambhar Roy in Jalsaghar could not have been fleshed out by any other than the late Chhobi Biswas.and with his death the Indian film industry suffered an irreplaceable loss. somebody else has commented that the print quality was bad and dark so he didn't like it.i have heard many to have come up come with similar allegations. fact remains that Ray shot this film with masterfully chosen available light conditions(read:no reflectors,you morons!)to depict the subtle interplay of light and shade to blend in with progress of the storyline!(as an aside ray recounts the sad story of a Bollywood film crew who arrived in Darjeeling at the same time as ray's team,and were still waiting for the elusive sun to arrive so they could begin shooting by the time ray had his whole film in the can and packed up to go home!) the climactic scene of the kanchenjungha suddenly making a brilliant appearance at the penultimate hour never fails to bring out goosebumps!definitely recommended.