Agantuk

It is possible and dangerous to read too much into a director's final film as being a "swan song" or a "culmination," and it seems to be an easy "insight" by those unable to come up with something better. But here we have a veritable summation and a compelling final statement of a brilliant career.

Whenever I watch an S. Ray film, I always feel lost trying to find a main theme or thrust in the story. Here we have several: ancient custom vs. technology, self-discovery, mystery/doubt, etc. But they all co-mingle in this extraordinarily complex character (based on Ray himself no doubt, hence the high level of insight). His was a cinema of life, scattered and bewildering, yet sublimely beautiful.

Still, Ray remains one of the few great directors from his era who never quite mastered the use of colour. Indeed, the lingering shots of images lacks the power of say the chandelier in "Jalsaghar," and the regret and sorrow on the faces of the family doesn't come anywhere close to the final scenes of "Pather."

On top of this we have Ray trying most explicitly to be philosophical. Some of Manmohan's laments on civilisation resemble passages from "Notes From Underground," and we even have the husband talking about having to "put two and two together," but these themes seem to be mentioned for the sake of mentioning them. Ray, like Manmohan, was an anthropologist, not a philosopher. Still, there are some deeply touching moments in this overall capably and thoughtfully made film.

3 out of 5 - Some strong elements

Simple and eloquent. The Stranger may be too charming for many of today's hipsters. A bit corny perhaps, but corn tastes great when it's cooked properly. The acting alone is worth the price of admission. If this was Ray's swan song, I'm sure he's resting in peace. Bravo, maestro!

Such a simple premise, but such a beautiful movie, and a glorious way for Satyajit Ray to end his illustrious career. Filmed in beautiful color, it touches on areas like philosophy, anthropology, religion, and science, but in ways that are light and engaging. It was made for me by the performance from Utpal Dutt, who plays the titular stranger with such presence, and imbued with worldly wisdom. It also features traditional musical performances, one with a tamboura and a native dance by the Kol people, which were quite a treat.

The story has a man who left home to travel the world long ago turning up in a family's life, and claiming to be the woman's uncle. She wants to believe him but since she was a baby when he left can't confirm it, and along with her cautious husband and vigilant friends, has doubts about his identity, particularly since an inheritance is involved. As they try to "peel the onion" on his life and who he is, he talks about his experiences in various cities around the world, and more significantly, his time with native peoples in India, as well as North and South America. The drama about his identity and whether he's cheating them seems to ebb into the background given the depth of what he's talking about and his intellectual honesty.

There were several fine scenes around that, one of which was the stranger talking to a group of kids about the incredible coincidence of the moon's diameter and distance from the earth being a nearly perfect proportion to the sun's, such that they appear the same size and 'fit' perfectly over one another during an eclipse. The way he talks about the mystery of this with the kids is natural and inspiring, and I also liked the other moments he had with the son in the family, passing not only his knowledge along, but also his wanderlust and desire to learn.

My favorite scene was when a family friend grills him in the attempt to expose him as a fraud, and we hear his views on weightier matters. As to religion, he says, "I happen to be a bit unorthodox in my views. I don't believe in something which creates barriers between people. Religion does that, particularly organized religion." He sees the miracles of life and is quite spiritual, but in a bittersweet, resigned way, says "The trouble is, it's extremely difficult to believe in a benevolent God these days. The daily papers alone make us question that belief." When pushed about the "savage" people he lived among, he points out the wisdom of native peoples, and in areas that aren't appreciated by 'advanced' cultures, e.g. Science, technology, medicine, architecture, and art. He says "Do you know the man who is really civilized?" It's the man who by using his thumb, presses a button which releases a weapon which obliterates an entire city with all its inhabitants."

These are some dark observations, but they aren't delivered in a gloomy, depressing way. They're balanced out by the man's humanity and the wisdom which comes from life experience and maturity. I felt it was Ray himself speaking here, in the grander scheme of things "no one," but a gifted, intelligent filmmaker, giving one last gift to the world.

This remarkable film is in many ways a self portrait of Satyajit Ray because he was none other than an anthropologist and philosopher in the true sense of playful, childlike wonder. This is the the story of how how a life of curiousity and wonder have to survive in this cruel and foolish world which judges everything in materialistic terms. The philosopher is always and everywhere a stranger,though full of joy, simplicity and wonder at Being which is fervently demonstrated in the 'cosmic magician' sequence. Only those with the child in them alive will understand!

What civilization we have created in the name of being social animal? What is the real civilization –the tribal one or the one our progressive society has been carrying from the very day of urbanization? Although these are not the questions we often dwell ourselves into; but that's what great film makers like Satyajit Ray stroke at in subtle films like this one.

What happens if any stranger becomes a part of your regular life for whom you carry a suspension of disbelief? Some times we come to know that stranger in the most intimate moment of one's life. If one thinks too deeply, this film also questions the very human notion of knowing or unknowing which always remains limited and relative in every individual case. In the name of civilization and sophisticated comfort, sometimes we forget to be human in its true sense and this film by Ray is just showing the reflection image with mild and touchy story to nourish in your film watching experience.

An unexpected and rather unwanted stranger visits the upper middle class Bengali family claiming to be the woman's long lost uncle back to Kolkota after 35 years of his roaming the world. The initial suspicion with which they greet the man slowly dissolves as he starts telling them the stories of his travels; tales which are at odds to conventional middle class perspective of Bengali family. The suspicious husband arranged an intelligent trap to nab him. The story takes an interesting turn as it progress further.

Utpal Dutt is perfect casting choice of Ray for playing 'To be or not to be uncle' who represents suave, intelligent and rational free thinker. However Dutt looks too old compared to his early films; he carried the lead role with his magnetic personality and well presence of character. The film also has some staunch Bengali art house actors like Dhritiman Chattejee, Mamata Shankar, and Deepankar De.

Ray seems so relevant even today. Yes you were right sir; we are still 'Kupmonduk' but we strive not to be one. Highly Recommended for all those who loves to watch meaningful cinema.