L'adversaire

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.

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.

In 1970, Satyajit Ray was already one of the most respected filmmakers ever with string of movies to his name which placed India in the world map. He has received more accolade than any other Indian filmmaker. I know many cinephiles considered Ray's Trilogy or rank his earlier films to the best while the latter half can be seen as a pessimistic phase. For me, it is the best period with top notch scripts, surrealism, fresh with thematic depth which was not present in the creator's earlier films. I rank Jana Aranya (1975), Days and Nights in the Forest (1970), Nayak (1966), Sikkim (1981) in the top shelf.

I'm a detractor of these new wave/parallel films capitalising on poverty with lame storyline, cliched character arcs, with no room for surrealism. I can't connect fully with the graph of films at that time and also with the Carnatic music which was like a matter of privilege with access only to a certain community. Nothing against the music but rarely someone outside the community gets to access it. Also, it was a time when lot of hippies visited India with short and departed with long hair, they benefitted a lot from the sadhus in India and Pakistan. Drifting from the green power crowd to the city, it was filled with lonely, depressed, politically correct/incorrect, rebellious, aimlessly wandering people. Ray interweaves the mood of the 70s with avant-garde aesthetics of experimental filmmakers, typical of the 1960s, especially in the opening negative sequence, the mirror shot and the climax with the skeletons.

At the center of the plot is Siddhartha Chaudhuri, a modern youth, unemployed, rebellious, and free. The film follows him and his dreams where he tries to scrape together everything to make a living. The city is inhospitable, with each day passing he dives into paranoia more and warps himself in an ever-descending spiral where it does not seem like there is any hope.

There's a scene in Pratidwandi (1972), where the character goes through an upheaval during a job interview. He is asked to answer many questions, and this is my favourite.

'Who was the prime minister of England at the time of Independence?

To which he replies - whose Independence, Sir?

The sequence shocked me, and I was in silence along with mention of Vietnam war, Moon landing. I could almost feel his pain with no atonement on the horizon. What's even scarier is the relevance the film holds portraying the present situation right.

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.

Pratidwandi is one of my favourite films of Satyajit Ray. In-fact, I'll place it above Apu trilogy and Charulata. This is political drama at its best. Set in the age of hippies, communism and newly born Naxalism, when Woodstock and the Vietnam war were fresh, the film reflects the bitterness and anger of an intelligent, sensitive young man engaged in the Herculean task of finding a job. This is one film that rightly depicts the Calcutta of the late sixties.

It was a difficult period for India and West Bengal. Corruption was rampant. Unemployment raged the youth of India. I absolutely loved the flashbacks and the way X-ray digressions have been employed by Ray. The ending scene was particularly marvellous, where the protagonist Siddharth, chooses ideology over helplessness. No wonder the inspiring communist of Hazaron Khwashein Aisi is also named Siddharth.

The film is stylistically experimental for Ray, featuring techniques inspired by the French New Wave, such as jump-cuts, edgy framing, dream sequences, and sexual metaphors. Some of the experimental techniques which the film pioneered include photo-negative flashbacks and X-ray digressions. There are a number of dream sequences which reminded me of Bergman's Wild Strawberries.