Master filmmaker Satyajit Ray (The Apu Trilogy) explores the conflict between fanaticism and free will in Devi (The Goddess), issuing a subversively modern challenge to religious orthodoxy and patriarchal power structures. In the waning days of mid-nineteenth-century India's feudal system, after his son (Apur Sansar's Soumitra Chatterjee) leaves for Kolkata to complete his studies, a wealthy rural landowner (The Music Room's Chhabi Biswas) is seized by the notion that his beloved daughter-in-law (The Hero's hauntingly sad-eyed Sharmila Tagore) is the reincarnation of the goddess Kalia delusion that proves devastating to the young woman and those around her. The opulently stylized compositions and the chiaroscuro lighting by cinematographer Subrata Mitra (Charulata) heighten the entrancing expressionistic intensity of this domestic tragedy, making for an experience that is both sublime and shattering. Bonus Features 4K digital restoration, with uncompressed monaural soundtrack Interviews with actors Sharmila Tagore and Soumitra Chatterjee, recorded in 2013 Video essay by film scholar Meheli Sen English subtitle translation PLUS: An essay by film critic Devika Girish
Satyajit Ray is internationally acknowledged as one of the great masters of world cinema. His films - many of them masterpieces - have won him legions of admirers among them Akira Kurosawa Henri Cartier-Bresson V.S. Naipaul and Martin Scorsese. This box set features the following films: Mahanagar (Aka: The Big City) (1963): Set in the mid '50s Ray's often humorous story of conflicting social values in India's lower-middle class stars Madhabi Mukherjee as a housewife whose growing independence alarms her traditionalist India 1963 family. Charulata (Aka: The Lonely Wife) (1964): Neglected by her ambitious journalist husband the lonely Charulata (Madhabi Mukherjee) befriends his cousin (Soumitra Chatterjee) a sensitive aspiring writer and almost inevitably their feelings for each other begin to deepen. Adapted from a story by Rabindranath Tagore Ray considered this sesnitively realised drama one of his finest achievements. Nayak (Aka: The Hero) (1966): This beautifully observed character study was one of Ray's earliest original screenplays. En route to an award ceremony a famous and egocentric Bengali movie star finds that he is compelled to re-evaluate his life after encountering a disapproving young journalist (Sharmila Tagore).
Two Daughters (aka: Teen Kanya) tells two tales. The first is about Nanda a young man who leaves Calcutta to work as a postmaster in an isolated malaria-infested village. His only solace in the village is in teaching his host Ratan how to read and write. The second story is about a student Amulya who returns to his village after finishing his exams. His widowed mother is very anxious for him to marry and has already picked out a girl. Yet he rejects his mother's choice and being forced to choose some girl marries a lively tomboy who is not ready to give up her freedom.
Considered to be a masterpiece this is an emotionally powerful melodrama about a young woman's struggle to support her refugee family in the post-Partition of Calcutta.
Set in the mid '50s Ray's often humorous story of conflicting social values in India's lower-middle class stars Madhabi Mukherjee as a housewife whose growing independence alarms her traditionalist family.
For Sagina (Dilip Kumar) getting recognition of the dignity of labour is everything and for it he will fight anyone even the top management of an English company. Set against the backdrop of World War ll Sagina is the story of a man whom neither his British employer nor the British police can break. Desperate the management send Aniruddha (Anil Chatterjee) to create a rift between Sagina and the workers for whom Sagina has become the symbol of their hopes and aspirations. Failin
Vijay is a story about characters bound by love and friendship. When Arjun (Anil Kapoor) and Vicky (Rishi Kapoor) meet they are oblivious to the fact that they are cousin brothers. They meet as friends until one day the truth dawns that the person behind the humiliation and destruction of Arjun's mother is their Grandfather Lala Yoddhraj (Anupam Kher). The battle lines are drawn between Arjun and Vicky as well as their respective families. Vicky is unaware of the mental tortur
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