Kanchenjungha

I think this is a great movie by any standard. This is also a very complex one. People who are familiar with Ray's Apu Triology will find it difficult to grasp the fact that the same ray is the director of this film.

Kanchenjungha deals set in hilly areas deals with 20th century problems in pristine location. Problems that we try to suppress in daily life, seems to get revealed and exposed to everybody else. It is like we are revealing ourselves as Kanchenjungha is exposed through bright sunlight.

Please note that you have to be patient with this movie. It is very different from all other Ray movies. Furthermore, there exists no central character. It is probably the most underrated of all Ray movies.

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.

The movie walks in and around Darjeeling. It follows group of characters intricately woven together; describing each personality by themselves and with respect to the other characters. The movie may be described as a beautiful documentation on basics of human nature, with many folds; and every time one watches it, discovers a new dimension. Ray's films interact with the audience in a way that, anyone can perceive them, and Kanchenjungha is no exception to that. What is it about these picturesque snow-capped hills that make one ponder into reflections, which has no space for, in life typically? Unlike the popular understanding the various characters are not shown to "evolve". Rather surrounded by innocence and beauty of the Darjeeling hills, together each of Ray's characters unfurl gradually into a culmination. Every scene in this film has an element of Darjeeling included, such as the unseen bird call, or animals that pass by, or the locals adorn in their tradition. With the sunrays that playing hide-n-seek through the clouds, the Darjeeling mists dances around, only to clear out in the end. It is as if the mountains itself fashions the individuals to reveal themselves, to speak out. Then and only then would the fog clear and you can see "the most beautiful snow range in the world" In then end Kanchenjunga can be summed up into one word as "perfect".

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.

Located on the border between Nepal and the state of Sikkim in India, Kanchenjungha (also spelled Kangchenjunga) is the highest mountain in India and the third highest in the world. That its setting for a film would be lovely is a given, but the fact that the mountain is often covered in mist makes it a perfect metaphor for the obstacles that can cloud people's vision. Such is the theme of Satyajit Ray's 1962 film Kanchenjunga, a look at changing values in the early days of Indian independence. It is a film that is firmly fixed in the Ray tradition: slow moving, intimate, and lyrical, filled with conflicted characters, social commentary, exquisite music, and enchanting children.

Kanchenjunga deals with parallel stories and the interconnectedness of people's lives, a format that would be even more in vogue fifteen years later. Focused on the upper middle-class Choudhuri family vacationing in Darjeeling, the story unfolds in real time, taking place in one day. The father Indranath (Chhabi Biswas), who has nothing but admiration for the former British rulers, has played the system to reach his position as the powerful head of five companies. The pompous patriarch usually gets his way and both he and his normally submissive wife Labanya Roy (Karuna Bannerjee) expect his daughter Monisha (Alaknanda Roy) to follow his wishes and marry a dull but rising bureaucrat named Bannerjee (N. Viswanathan) who, if nothing else, can provide his bride with security.

What Indranath has not counted on, however, is that Monisha has a mind of her own and an old-fashioned idea that love should play a part in whom you marry. Labanya asserts herself as well, telling Monisha that she has to make up her own mind. The story takes place as the characters walk along the scenic hill station in late afternoon waiting for the clouds to clear so they can get a good view of the mountains. Another prominent player, Ashoke (Arun Mukherjee), a 24-year-old working class man from Calcutta who had tutored Indranath's son Anil when he was a little boy, is on vacation with his uncle. The semi-comic uncle wants him to cozy up to Indranath, envisioning the possibilities for a job paying 300 rupees a month for his nephew. Ashoke takes the opportunity and meets the tycoon but is treated like a servant, Indranath asking him to go to his room to bring him his red muffler.

The young man gets the last laugh, however, when he turns down his offer of a job after a long monologue about how successful he has become. More importantly to Ashoke, however, is his meeting with Indranath's daughter Monisha. Though they come from different economic levels of society, their unpretentiousness draw them to each other and their budding relationship holds promise for the future. Other characters are Monisha's older sister, Anima (Anubha Gupta), and her husband Shankar (Subrata Sen Sharma), who are trying to patch up a relationship that has broken down as a result of his drinking and gambling, and her long-term affair with another man, but they are bound together by the love of their young daughter who rides a horse around the hill during the entire afternoon.

These sub-dramas play out against the background of the imposing mountains. As evening approaches and the sky clears, the characters, liberated by the beauty that surrounds them, are able to see with clarity a society changing before their eyes and how their lives have been forever affected. Kanchenjungha is Ray's first color film and one that he produced and directed, wrote the original screenplay, and composed the music, an impressive feat. Though none of his subsequent work ever reached the stratospheric heights of The Apu Trilogy, the mark of a great director is when one of his obscure, minor films can fit into the category of a masterpiece. It's a good fit for Kanchenjungha.