Un ennemi du peuple

Even after 63 years of independence India is still in the strong grip of religious superstition and many medieval prejudices. The caste system runs deep in the society and often determines person's identity. Daily newspapers run a dedicated section on astrology, alternate medicines like Homeopathy gets millions of dollars in government funding, the Nation is more opinionated on religious issues than on real issue like poverty and education and all these happens under the active support and promotion from the educated urban middle class contrary to what many would like to believe, the illiterate rural masses. The movie is a slap on the face of such so-called educated and a stark warning what could happen if religious sentiments of the people is misused or abused to achieve personal goals, a fact India would so painfully be facing within just 2 years after the release of the movie. Ray could see what is coming, and like all true artist for whom his work is more than just art and in reality a medium of communication has tried to fulfill his duties to make the people aware of what he saw was coming.

It is not one of "those" art films, in fact there is very little art into it. Ray was very fragile while shooting his last 3 films, so most of the shots are indoor and very archaic and to the point. Despite his illness he attempted this movie to tell his fellow citizen what grave danger the Nation is facing, there one can see the other side of Ray almost as a social reformer.

Unlike many others however, Ray delivered the message in a way that should hurt nobody, even though Ray himself was an atheist. The movie brings forth the eternal conflict between hard scientific fact and the opposing religious doctrine. In the movie the young generation ultimately favors science and this optimism about India that Ray has envisioned is the best part of the movie, indeed the most touching part.

The screenplay is very simple and banal yet appropriate and I can't imagine it can be made any better without tipping off the scale. Dhritiman excels Soumitra but that's my opinion. The advantage of working with known and trusted crew of such stalwarts is that it takes away a lot of hardship from an exhausted director without compromising any on the quality!

Ray adapts an Ibsen play. This feels very much like a made-for-TV movie, and it's a bit of a slog, especially up front, but it gains momentum as it goes on and is pretty interesting. Dr. Gupta (Soumitra Chatterjee) discovers that the holy water from a popular local temple is infected with bacteria. Fixing the problem will be costly and a lot of people are against it, including Gupta's brother (Dhritiman Chatterjee), a bureaucrat. Eventually, Dr. Gupta finds himself in deep disapproval of the community, a virtual pariah. This is part of a recently released Eclipse set, Late Ray, but can also be watched on Hulu Plus.

(1989) Ganashatru (In Bengali with English subtitles) DRAMA

Adapted from the play by Henrik Ibsen music, co-written and directed by Satyajit Ray that centers on a situation of a doctor, Ashok Gupta (Soumitra Chattopadhyay) who is waiting for test results of a water from a holy temple after it was concluded the patient of his may have died from. And while he is waiting he also calls up a newspaper friend, Haridas Bagchi (Dipankar Dey) of his to wait for him at his house. And while Ashok's wife, Maya Gupta (Ruma Guhathakurta) is entertaining her guest by serving him pastry and tea, Haridas Ashok's younger brother, Nishith Gupta (Dhritiman Chattopadhya) shows up he happens to be municipal chairman of the city of Chandipur. We then meet Ranen Haldar (Bhishma Guhathakurta) who happens to be a student as well as an inspired writer. Ranen also happens to be fiance of the Gupta's daughter, Ranu who works as a teacher. And by the time Ashok shows up , he is then informs him that the water from the holy site may be contaminated. Ashok then clashes with his younger brother over this since he is the municipal chairman before he clashes with his best friend, Haridas over the posting out the story for the residents to know about.

Upon watching it, is reminiscent of another movie also based on a play called "The Big Knife" made in 1955 and the movie "Rope" in which the entire story itself is confined to just a few areas or limited areas and space. For "The Big Knife" the entire movie is limited to just the living room of the house, in this one it is limited to the Gupta's family home the newspaper office and some of it on stage where the debate was being at. I think I fell asleep upon watching "The Big Knife" and with "Rope" not so much because it was supposed to be filmed all on one long take, this one is quite good but too much dialogue the movie gets better when the debate or arguing happens between the newspaper editor the municipal chairman butting heads with the doctor.

Doctor Soumitra Chatterjee has been tracking the source of an epidemic and has concluded, after laboratory reports, that that water in the local temple has been polluted and causing the outbreak. Yet there are strong forces opposing him, not only the reigious conservatives, but business interests who see that temple as a souce of tourism and revenue. Even his brother is ranged against him, and more than willing to destroy him rather than close down the temple to fix the problem.

Satyajit Ray;s movie is based on Ibsen's 1882, and sticks mainly to the original's concerns, despite some changes made for its Indian setting. Ray's handling and ending is a little more standardized that the play, but it remains a powerful piece.

Title: Ganashatru (1989)

Director: Satyajit Ray

Genre: Drama

Review:

Satyajit Ray's "Ganashatru" (An Enemy of the People) is a powerful adaptation of Henrik Ibsen's play of the same name, translated into the socio-cultural milieu of contemporary India. Ray, known for his deft storytelling and nuanced exploration of human conditions, uses this film to address the conflict between truth and societal complacency, making it as relevant today as it was at the time of its release.

**Plot Summary:**

The story centers on Dr. Ashok Gupta (played by Soumitra Chatterjee), a dedicated and principled physician in the small town of Chandipur. Dr. Gupta discovers that the town's holy temple water, which attracts numerous pilgrims, is contaminated and causing a severe outbreak of jaundice. His findings set the stage for a moral and social battle as he tries to bring this truth to light.

Dr. Gupta's attempts to alert the public and the authorities are met with severe resistance. The local power structures, including the temple trustees and the municipal officials, are more interested in protecting their economic interests and the town's reputation than addressing the public health crisis. Even the local newspaper, which initially supports Dr. Gupta, is coerced into silence.

As Dr. Gupta's crusade for truth intensifies, he faces personal and professional ostracization. His brother, Nisith (played by Dhritiman Chatterjee), who is aligned with the temple trustees, and other prominent townsfolk turn against him. Despite the increasing opposition, Dr. Gupta remains resolute, embodying the spirit of an idealistic hero fighting against the entrenched corruption and ignorance.

Characters and Performances:

Soumitra Chatterjee delivers a standout performance as Dr. Ashok Gupta, imbuing the character with a compelling mix of empathy, determination, and vulnerability. His portrayal captures the essence of a man driven by a sense of duty and moral conviction, making his struggle deeply affecting and relatable.

Dhritiman Chatterjee as Nisith Gupta provides a stark contrast, representing the pragmatic and self-serving elements of society that often hinder progress. The supporting cast, including Mamata Shankar as Dr. Gupta's supportive wife and Ruma Guha Thakurta as the steadfast editor of the local newspaper, enrich the narrative with their nuanced performances.

Direction and Cinematography:

Satyajit Ray's direction is marked by his usual attention to detail and subtlety. He skillfully adapts Ibsen's play to an Indian context, retaining its core themes while making it resonate with local sensibilities. Ray's ability to build tension and drama through everyday interactions and dialogues is evident throughout the film.

Barun Raha's cinematography complements Ray's vision, using the small-town setting effectively to create a sense of intimacy and immediacy. The use of natural lighting and unembellished visuals enhances the realism of the film, drawing the audience into the lived experiences of the characters.

Themes and Social Commentary:

"Ganashatru" delves deep into the themes of truth, integrity, and societal resistance to change. Ray critiques the often self-serving nature of social and religious institutions, highlighting how economic interests can overshadow public welfare. The film is a scathing indictment of how truth is frequently manipulated or suppressed by those in power to maintain the status quo.

Ray also explores the isolation faced by individuals who challenge societal norms. Dr. Gupta's journey is a testament to the personal cost of standing up for one's principles. His character serves as a moral beacon, underscoring the importance of courage and perseverance in the face of widespread opposition.

Criticisms:

1. Pacing and Length: One of the primary criticisms of "Ganashatru" is its pacing. The film unfolds slowly, with long stretches of dialogue-heavy scenes that may test the patience of contemporary viewers. The deliberate pacing, while building tension, sometimes hampers the narrative drive, making the film feel longer than its actual runtime.

2. Simplistic Characterization: Some characters in "Ganashatru" come across as one-dimensional. While Dr. Gupta is well-developed, others, such as the antagonistic town officials and his brother Nisith, are portrayed in a somewhat simplistic manner. This lack of depth in secondary characters can diminish the overall impact, making the conflict seem more black-and-white than nuanced.

3. Didactic Tone: At times, the film adopts a didactic tone, with dialogues that seem more focused on delivering a moral lesson than on naturalistic character interaction. This can make certain scenes feel preachy, detracting from the subtlety that Ray is typically known for.

4. Adaptation Challenges: Adapting a Western play to an Indian setting involves significant cultural translation, and while Ray handles this adeptly for the most part, some elements feel forced. The transplantation of Ibsen's themes into the Indian context, though largely successful, occasionally struggles to maintain the same level of dramatic tension and cultural coherence.

5. Lack of Visual Dynamism: The film's visual style, though realistic, lacks the dynamism seen in some of Ray's earlier works. The reliance on static camera work and limited locations can make the film visually monotonous, reducing the cinematic appeal for some viewers.

Conclusion:

"Ganashatru" is a thought-provoking and deeply relevant film that reflects Satyajit Ray's mastery as a storyteller and social commentator. It is a compelling exploration of the conflict between individual integrity and societal complacency, made powerful by its strong performances and Ray's nuanced direction.

In conclusion, "Ganashatru" is not just a cinematic adaptation of a classic play but a timeless critique of the moral and ethical dilemmas that plague societies. Ray's ability to contextualize these universal themes within the framework of contemporary India makes the film both poignant and profound. It remains a significant work in Ray's oeuvre, urging viewers to reflect on their own values and the societal structures they navigate.