Pratidwandi

They call this as the first one of the famous "Calcutta Youth Choir/Series". Movie is great and, again based on a super-topical short story of Sunil Gangopadhyay and slithers into the life of a young man and his pursuit of a career which is actually not what he is looking for but leads him to what he was longing for a while - and its death in parallel. Poetic enough?! It should be because the writer has been a bard of the voice of youth in bengal for at least 3-4 decades. Outside critics recognised this as an unapologetically communist themed, and yes it is. I do not personally like this, but I really recommend a little homework before judging this piece, or maybe, the entire series. Not related to its review, but Mrinal Sen, too, has a "Calcutta Series". And speaking about Mrinal Sen, this movie even shows a dream sequence featuring the young, prince-like Debraj Roy as Che Guevara.

It is my personal view, and I think I'll have to go into hiding after saying this, that this is Satyajit Ray's greatest film. I happen to share a common name with the protagonist, Siddhartha, and knowing the sort of impact this movie had on my father, and people of his generation, I wouldn't be surprised if, subconsciously at least, I was named after the character.

This movie is the first in what is called Ray's 'Calcutta Trilogy', which consists of 'Pratidwandi', 'Seemabaddha', and 'Jana Aranya'. These three movies, though not as remarkable perhaps as his previous, and more famous trilogy, the 'Apu trilogy', are nonetheless some of his finest and most subtle movies.

Pratidwandi is set in a Calcutta rocked by political unrest, and examines the varied reactions of the youth of the city to this unrest. Based on Sunil Gangopadhyay's novel, the story revolves around Siddhartha, his family, the girl he loves and his struggle for survival in the big city, while at all times staying true to his principles. From its beginning interview scene, its use of real events as backdrop, its sublime acting, particularly that of Dhritiman, right till its remarkable ending, arguably Ray's greatest ever, the film sustains a continues high which makes watching it an unforgettable experience.

Not having known much about what to expect, I was taken for quite a surprise with the Calcutta Trilogy. With a constantly bleak environment in each film, this series educates about the conditions of that era. Out of the three, this seems to be the happiest, and that should tell you much about the other movies.

This movie is filled with very subtle metaphors and fantastic direction. The story quickly reels you in and the audience would automatically start to root for the protagonist. There is one scene, where the protagonist, previously educated in medicine, hallucinates all the people he finds applying for a particular job position as skeletons. This was a fantastic scene and the framing must have been quite cumbersome, but it really drives in the point.

One other thing that really won me over was the last scene, which was incredibly poignant- a mention about the death of dreams, and the circular nature of life. So many wonderful moments in the movie, but these two struck me the most.

Dhritiman Chatterjee's acting was remarkable and he really delivered quite a performance. He really makes the audience root for him and quickly develops a connection with the viewer. The supporting cast were also fairly good in their roles, although they didn't really have a lot of screen-time, considering this movie was completely from the protagonist's point of view. Overall, this was a really symbolic movie with not-so bleak an ending.

This is the first of Ray's Calcutta Trilogy. Although 'Jana Aranya' also packs quite a punch, and like it, Pratidwandi also has central character that of a young man. But in this one, Dhritiman Chatterjee at various times comes nearer to the concept of 'Angry young man'. In Jana Aranya, the young protagonist compromise very early, whereas in this film, the young protagonist resists and resists.. until... The Direction in both Pratidwandi and Jana Aranya is straight. Ray tells the story without much getting into experimentation. One stark scene where he dabbles into some symbolism, depicts the potential job seekers as human skeletons from the eyes of the protagonist, his being an ex-medical student. The scene itself tells a lot about the state of mind of the hero and the plight of the youngsters. The whole sequence seen from third persons (audience) view point too show not only a very unique directorial description but it also shocks the audience to their core. The scene also departs from the classical Ray mold of being 'all humane' who desists from showing any violence. The scene may not have any violence but it shows the many shades of a mind facing much in itself from outside pressures and beginning to wander to the extremes. Pratidwandi is a tour-de-force by Satyajit Ray.

" The competitor or Pratidwandi was set up in a time of political turmoil in Bengal where a medicine drop out Siddhartha is looking out desperately for a job. Siddhartha had to leave his medicine study due to the sudden death of his father and ended up studying botany hence. The film moves through Kolkata with the eyes of Sidhartha mainly as an unemployed youth. The film marks the start of the famous Kolkata trilogy film series from Ray and went into history for winning President's award for best direction and screenplay and to be featured in 1972 Venice film festival. Ray used techniques that was years ahead of its time with common metaphor as below –

1. Death – The film starts with a x-ray filming scene of Sidhartha's father's death and ends with the same metaphor of death when Sidhartha finally lands up a sales job in remote Bengal and hears the long lost bird's whistle from his childhood days just to be comprehended by the echoing voice of "Ram Nam sath hai". Death stars and ends the film.

2. Lost bird – Sidhartha's recollects the bird that his sister was so fond of during their childhood vacation. Sidhartha never finds the same old known bird in Kolkata. He even ventures new market which is famous for hosting all materials from the world. But even new market disappoints him. He spots the bird finally in rural Bengal (Balurghat) in his new medical sales job. But this time the sound of the known bird is in resonance with the rhymes of a dead man being carried away. May be this concept of the lost innocence has inspired modern bengali bands to compose songs as "Holud pakhi". This is indeed remarkable as a metaphor for lost innocence and a human changing with age and circumstances.

3. Flash backs – Sidhartha flashbacks in his medical college days often in the film and these college flashbacks as medical lectures are used to connect the story as he unfolds his struggling days in Kolkata. The most eminent is the sexual metaphor of a young modern lady crossing park street.

The script was based on the story of Sunil Gangapadhya and the film moves very fast from the interview panel to Sidhartha's old friends mess to his old home. Sidhartha's inability to cope up with his ambitious sister (on merit or with her affair with her boss is unknown) or his revolutionary cousin makes up an interesting contrast to his character. Sidhartha's refusal for a sexual act which his friend sponsors speaks of his resilience and strength of character. Sidhartha also regrets probably gifting his brother the book from Che Guevara in his teenage birthday as his brother might have initiated his views on revolution from that gifted book. The only support that Sidhartha get is that from a door next girl who ultimately becomes his friend and may be his love interest eventually.

Sidhartha character is one of the three shades that Ray used in Calcutta trilogy as below – a) Sidhartha being the job hunter who finally compromises and leaves Calcutta. This character is by far the white shade in trilogy.

b) The character of Somanth in the second trilogy "Middleman -"Jana aranya " who as a job hunter too leaves the hunt and becomes a businessman himself just to end up hiring his best friend's sister as an escort for sales favors. Somnath is the innocent looking grey shade in trilogy.

c) The character of Shymal in the film "Company limited - Seemabaddha" who finds epitome of success in corporate life through smart work ends up self accused, although he makes to the coveted post of a general manager. Shymal is definitely darker of the other two shades if not a black.

Overall, a brilliant film and needs utmost attention when you see it. If you have struggled in a job search then this film will grip you more. Hope you all like this analysis as I pen up for the next two series on Middleman ("Jana aranya") and company limited ("Seemabaddha"). Your comments and views most welcome on the work of the genius !!