Nayak

I was around 14 years old when I first saw this masterpiece of Satayajit Ray. One very common thing between Ray and Kurosawa I noticed was introspection of perception.

A train journey allows a superstar to introspect his life and career which leaves him in shattered pieces. Uttam Kumar as Arindam was simply unbelievable and so was Shartmila Tagore as the reporter who was acting as a mirror (much needed) for Arindam to reflect.

This movie will give everyone a glimpse of the price paid to succeed. Success here is the Devil and greed here is the devil's advocate.... the price..........."SOUL"

A must watch if you are a movie lover....My Vote - 9/10

This film from director Satyajit Ray reminded me a little bit of Ingmar Bergman's 'Wild Strawberries', as in each case a protagonist takes a trip in order to receive a big award, and thinks back on his life with some regrets. In this case, it's not an elderly professor, it's a middle-aged movie star (Uttam Kumar), and instead of a car ride with a daughter-in-law, it's a train trip where he meets a young journalist (Sharmila Tagore). She serves as his conscience and mirror over a series of discussions the pair have, and what she reflects is often not very pretty.

At the film's outset the famous star seems to have it all with his success and good looks, and Kumar looks pretty damn cool in shades and when he blows smoke rings. It's soon apparent that he's so worried about someday losing his fame that he's lost bits of his humanity along the way. Via flashbacks we find that he's done some petty things to others, abandoned the altruistic cause of a friend, and taken advantage of women who want to get into films. There is something empty and pathetic about his life that those who get to know him see, including the journalist and a mother and daughter in his compartment who are adoring fans, but see how he pops sleeping pills and gets plastered. And yet, he's always cast as a hero (a 'nayak'), and to the legions of fans who crowd around him in the train stations, he is one.

The meaning of that is pretty clear, but it's not as simple as just showing us how someone on a pedestal may be unworthy of being there. More generally, the film shows us how the most outwardly successful people may be damaged or flawed within, and carry a lot of insecurity. It does this in a thoughtful and reflective way, avoiding simple black/white characterizations. Ray adds depth to the story with a subplot in which a salesman wants his wife to be friendly to another man in order to help win him over. It adds to the overall question, to what lengths should one go in order to be (financially) successful? And regardless of whether one can stay on top, he reminds us via a powerful dream sequence featuring skeletal arms poking up out of mounds of cash, that death will come for us all.

The performances are all fantastic, including an old curmudgeon who eschews "modern movies", and Tagore, who is intelligent, sassy in a reserved way, and beautiful too. I liked how Ray didn't have her succumb to the movie star's charms, as a weaker director/writer might have done. He also uses the train very well, both in moving the action around its various compartments and aisles, and in giving us the scenery outside. In one moment Kumar stares down at the adjacent rail track streaming by with a glint of light on it, and it made me wonder if he was wishing he could be like that rail, staying straight as the train of life rumbled along, and always in the light. The film also made me wonder if the main character reflected a little of Ray himself, who by this time was famous (ala Fellini's 8 ½). It's a film that I might rate higher with a second viewing, and may have held back a little here because I have a slight aversion to stories involving the problems of famous people. It was memorable and had a strong ending.

A movie at par with Citizen Kane and Rashomon and IMO even better than them in some ways. Impeccable direction and superb acting. Makes you wonder why these two - the actor and director not get together more often in Satyajit Roy films. The angst was so real it seems the guy is not acting any more - just telling his story as it is. The dream sequencewas outstanding as was the ending. The characterisation had on occasion skirted around the burlesque with the older actor in his first interaction with the protagonist but that made the scene all the more poignant. The underlying philosophy is not too deep but something that one can deeply empathise with. The greatness of this movie is how perfectly the story is told. There is an aura of dramatic tension throughout, not between the characters but within the protagonist himself. I would sincerely recommend this movie to anyone who loves what cinema is all about.

'Awesome....' There should be simply one word, which makes it clear. But can't resist myself from being elaborate!!! People say one have lots of shades in his/her character, fewer said - 'If one's a public figure, then you are the most neglected character in the society'. Readers may feel confused. Don't be. Just feel the misery & anger of one who's popular and common people want to know everything about him. There is no so called private thing he can have. This burnt him so much and the aftermath is: he tends to hide his all things from everyone. This process got his entire effort and the work for which he is famous tends to loose focus. In the way to keep secrets, often the person himself forgot those very own & inner things.

Here, train journey implies the must have life long journey as a human being. Often these persons open up their very inner most feelings-thoughts-memories to someone. But only when he/she is assured of something: 'Again the secrecy of these things'.

In Nayak, Sharmila plays that kind of character who can keep secrets like a secret, but only with healthy warmth personal touch. This movie was framed in late 60's, but the thought process behind it, eternal. There are endless thing to describe this movie. You have to watch it, because it's journey of a lifetime for everyone. It was nominated for many international awards, as Ray & Uttam Kumar both gave their best possible effort here. 9 out of 10.

I have never seen an Indian movie quite like Nayak. Ray has forayed into parallel story telling, like Kurasawa's Rashomon and into dream logic like Bunuel's The Discreet Charm of the Bourgeoisie. I would personally rate it above Bergman's The Magician which also dealt with a similar theme of an actor's reality and people's acceptance of him as a super human and their reluctance of considering him as a human being. Between the two of them, Nayak is more easy to understand whereas The Magician puts its characters in various shades of good and evil throughout its running time.

No such dramatics here and this movie is as good as it gets. I would rate it as one of his best movies amongst Pather Panchali and Charulata. The dream sequences were very well produced and were relevant to the storyline on a sub-conscious level.

The subtitling on the Angel DVD wasn't very well done and the dialogues sometimes whizz by without us being able to read them in time. For people who are familiar with Indian languages, it may not be such a big deal since several of the Bengali words can be understood by them; however for non-Indian speakers this may come across as irritating.

On a personal note, I am sometimes glad that not many people know about Ray because then I am able of recommending him to people who are in the know of the movie industry.