When I reviewed An Inspector Calls a couple of weeks back, blog reader AS, in a comment, mentioned that a Bengali version of the film (or rather of the play by JB Priestly, on which it was based) was also made, starring Uttam Kumar: Thana Theke Aschi. This was a film that had been recommended to me earlier as well, so I had it bookmarked; but I hadn’t known it was a version of An Inspector Calls.
Now, fresh from my viewing of (and gushing over) An Inspector Calls, I decided I had to watch Thana Theke Aschi while the story was still fresh in my mind.
The story begins with a brief glimpse of a faceless woman, lying dead on the floor of a dingy little hut, an empty bottle of carbolic acid near her hand. The corpse is found by another woman, who starts to scream.
The scene then shifts to the home of the wealthy Chandramadhav Sen (Kamal Mitra), where an engagement party is in full swing. Mr Sen’s daughter Sheila (Anjana Bhowmick) has just gotten betrothed to Amiya (?), the son of one of Mr Sen’s business associates. It’s a grand party, and once it’s over, Amiya stays on, chatting with the Sens.
Today is the birth centenary of Satyajit Ray: he was born on May 2, 1921, in Calcutta.
I am not going to expend words and energy in writing even a short biography of Ray: is there any need, after all? Because Ray is too well-known, too well-respected, for him to need any introduction. If there’s one Indian film-maker who’s acclaimed even abroad, it’s Ray. And when you think of how he didn’t merely direct great films, but wrote them, composed music for them, designed costumes for them—and wrote novels and short stories, designed typefaces, created art: you realize just how multi-faceted a genius was Satyajit Ray.
Kapurush O Mahapurush (The Coward and The Holy Man) isn’t one film, even though these two short films—each just over an hour long—were released together, as a sort of ‘combined pack’. Unlike Satyajit Ray’s other well-known set of short stories-clubbed-together film, Teen Kanya, the two component stories of KapurushOMahapurush have barely anything in common (except possibly a central male character who drives—or does not drive—the story). I watched these two short films one after the other and thought of writing separate reviews for each—then decided that they’re best reviewed the way I saw them. Together, one after the other.
This Satyajit Ray film had been lying in my to-watch pile for a long time. Then, I learnt a few days back that the Indian government had finally decided to award a Dadasaheb Phalke to Soumitra Chatterjee for his contribution to Indian cinema. Better late than never, I guess (even though a number of people have said that it’s too late). The announcement, however, did give me a solid reason to watch Charulata (aka The Lonely Wife). And I ended up wanting to hit myself for not having seen this masterpiece earlier.