Review by smkbsws

The first neo-realistic "art film" from Bengal, shot and completed much before the Apu Trilogy, but unfortunately released 25 years later. For allegory-suckers, this is just another version of "Inside Llewyn Davis", or at least shows the infinite sorrow and struggle of the protagonist. This would be the recurring undercurrent for all of the upcoming Ghatak's films. Also, the fate, or the destiny will be the constant companion of Ghatak's movie releases and box office collection. But all these do not matter, as this foreshadowed most of the aspects of his style like mise-en-scène with depth and layers, classical music for exposition, (1 of) the smartest love stories, (1 of) the most urban humane narratives, and the tale of people who came to another place to live on. The great Ramananda Sengupta started his career with shooting this film. There is a scene where the lead is acting by just lying down on a mat, that itself is so much craftful to make us amaze. Another gem of that time, Ramesh Joshi was also a debutant when he was cutting this film. But we were surprised by the multi-shots of the drawing room discussions with the new paying guest. Almost forgetting to mention, I think Nagarik was the first bengali movie to show the Calcutta lanes and alleys artistically.