Redwarmin
This movie is the proof that the world is becoming a sick and dumb place
StyleSk8r
At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.
Staci Frederick
Blistering performances.
Purnendu Dey (purnenduvianworld)
Adapted form Sunil Ganguly's story, the film zooms in on the vagaries and vicissitudes of the then bourgeoisie and their disillusionment with their state of affairs. A motley quartet ventures into the woods of Palamau to spend some days in order to extricate themselves from the trammels of their ordered social and city life. Culled from the various strata in the middle class the four characters reflect completely different attitudes bound by a thread of friendship. 'Breaking the rules', they drop anchor at a government forest bungalow without the required permission, consequently browbeating, and finally bribing the chowkidar, putting his job at stake. They remain unshaven, exchange diatribes at a local arrack shop and indulge in a drunken twist causing problem to vehicles. Their behaviour with and indifference (frequently found among the bourgeois people) of the lower orders of the society and their suffering, quite often verging on brutality, may make them, for the time being, unlikeable; but their innocent and ignorant self-esteem doing them in at last draws back our sympathy once again. Ashim (as Soumitra Chatterji) loses his self-confidence finally after the memory game; Sanjoy (as Subhendu Chatterji) finds himself hollow as a man in front of a seductive Jaya; Hari himself mislays his wallet but beats the local boy Lakhai which rebounds on him at last; Shekhar (as Rabi Ghosh) is only the man who escapes much of the humiliation because of his hilarious nature.Their unexpected spotting, one morning, of two ladies of their social stratum within the tribal village brings them back, somewhat, to their superficial selves and they try to meet them in person and try their own hands at flirting. Though a forging of relationships is on the way under the hammer-blows of a set of consecutive meetings between the opposite sexes, yet each of the conceited quartet is blown to bits as the women come up trumps. Each of the quartet is chastened in his own way near the end of the film, and the women, winners in the beginning, appear to be pale, gloomy and their voices plangent beneath their jocund exterior and mellifluous chatter and pithy elicitation.Like in most of Ray's films, here also, the characters smile, but they find it rather painful to laugh. Though it is a matter of pity that a film of this momentousness received a lukewarm response form the native audience and critics when it was screened, yet it, then, was, and still is, a surefire narration of epic dimensions and the film's aura doesn't seem to dim even though it is watched over and over again. Unfortunately, they, who search for a single and simple theme in a film like this, will not be able to comprehend herein the interplay of various themes. Ray once said regretfully in a Sight & Sound interview, "The film is about so many things, that's the trouble. People want just one theme, which they can hold in their hands." He likened the structure of the film to a fugue, where disparate elements appear, develop interwoven, transformed pitted in a balanced way against each other.Lastly, the memory game sequence in the forest is as much psychological as it is appealing. Ray's astute handling of the mise-en-scene surpasses every character study heretofore attempted. Aparna pulls out when only Aparna and Ashim are left in the fray. Sexual undercurrents and each one's mental preferences are reflected during the game. With the forest as the setting the visitors engage in a primitive game of dethroning the other with one's mental might. The mysterious forest exudes revelations of the highest order at once perceivable and profound to be taken into, absorbed and preserved for perennial use by the unfortunate and innocent souls, who often get consumed with the fire of self-esteem and self-satisfaction thereby closing doors to experience and knowledge that's omniscience in it's vastness and immanence.
Chrysanthepop
-'Aranyer Din Ratri' opens with four Calcuttan friends on a hedonistic road trip to a forest. Each friend has a distinctive personalitry trait: Ashim (Soumitra Chatterjee) is successful, slightly dominating and slightly narcissistic, Sanjoy (Subhendu Chatterjee) is shy, conventional and neutral, Shekhar (Robi Ghosh) is the funny one, and Hari (Samit Bhanja) is rash and impulsive. While they almost forcefully settle down in the guest house much against the caretaker's request (as it will cost him his job) and observe the surrounding locales, they come across three different women: Aparna (Sharmila Tagore) an enigmatic confident and smart young lady, her widowed sister-in-law (Kaberi Bose) who is welcoming and cheerful and a tribal girl named Duli (Simi Garewal) who is ready to offer services in exchange of money. It is this encounter in the forest that leads to a development that will change the lives of Ashim, Sanjoy and Hari while Shekhar remains his own funny self. Ray proves again that less can be more if done properly. The lyrical story is told with sheer subtlety and profound depth. The sexual chemistry, the underlying themes such as class differentiation, poverty, loneliness and love are displayed with a skillful quietness. His fluid direction and the actors performances draws the viewer into this little forest of quiet enigma. It is no surprise that Ray has worked with the best actors and 'Aranyer Din Ratri' is no different in that respect. The two Chatterjees, Ghosh and Bhanja are superb. It really felt as though we were watching four close friends. Garewal provides some comic relief. She may be an unusual choice for Duli but she pulls it off quite well. Sharmila Tagore excellently downplays the part of Aparna. Ray's films have a timeless quality as they never feel outdated. Needless to say, the terrific 'Aranyer Din Ratri' is one such movie.
Aparna Gangopadhyay
Aranya Din-Ratri (the days & nights spent in remote forest area) Story of 4 bengali males shown beautifully by Director Mr. Satyajit Ray ! 4 friends take a break – 3 of them are average looking & tall and one is short and below average to look at. They do not make proper arrangements – just barge into a Goernment Guest House and bribe the caretaker to let them in by giving him some money. The poor care taker has an ailing wife so since he could not go out to buy stuff for them, the porter boy agrees to buy & carry food stuff for them.A typical life style of average common men (looser men rather) is shown here – how they just crib about having to butter the boss and please him by attending late night parties, boozing and spending time with cheap rich girls with artificial expressions and revealing outfits.One the friends was ditched lately by an educated girl (played by Aparna Sen) – who was fashion conscious (wore wigs to look more seducing) as well as very intelligent & observant who had the sense to smell tricky / foolish people from a distance. She had written a 5 paged letter to her boyfriend who in return could barely write half a page – showing that he was not very sound as far as 'literacy in romanticism' was concerned. This the girl understood and washed her hands off the idiot ! (very well done I would say) – the fact that her decision was absolutely right is seen later as the movie proceeds … when the same fellow indulges in intercourse with a 'dirty, smelly, ugly looking maid servant category, drunkard woman he meets in the forest remote area !!He does IT with her on open ground in the forest on the thorny weeds !! – so utterly frustrated and sex starved - just anyone would do for such men – therefore his girlfriend definitely made the right decision to ditch him.A looser man in all respect.Second fellow was a bit intellectual and adventurous , well read – in the game of "remembering names' he said Shakespeare and Sharmila Tagore – a lady he meets there, says Cleopatra – in fact each one took the name of the historical/ literary figure he / she either hero worships/identifies – or admires in one way or the other. He meets this quiet & attractive lady and gets drawn towards her – she had a traumatic childhood – the reason of her quietitude – Mother had died of fire in front of her and elder brother had committed suicide !Another looser who knows it all but cannot do anything about it.Third fellow was decent – playing it safe kinds – the widowed sister-in-law of sharmila tries to seduce him (missing her husband I guess) – had said Rabindranath Tagore in the game of 'Remembering names' by the way. A decent man who could change if he wanted to – looser or winner depended on him.Fourth fellow – happy go lucky – the fact that he was ugly & short was taken very lightly by him – had no attitude problems – couldn't have any in fact – compensating on his below average looks – so he turned comical and made things appear funny. A very common Bengali man category since the average height of Bengali men is around 5'5" and also Bengali men are dark and not very good looking – so they make fun of everything and anything and spend time making merry – with or without any reason.
Ravenus
ARANYER DIN RATRI – Satyajit Ray**MAY contain spoilers** (but it's not a mystery film so...)ADR is a beautiful chamber piece from a director who does this sort of thing very well.The opening sequence shows a motley quartet going on a holiday road trip to a forested area. They are friends, but each coming from a separate milieu and with a different temperament: Ashim (Soumitra Chatterjee, the lead in many of Ray's films), a suave and successful executive, is the unofficial leader. The neat and shy Sunjoy is a conventional pen-pusher tied to the mores of middle-class existence. Hari, a cricketer is short tempered and impulsive, while an unemployed Shekhar is the joker of the group. They halt en route at a vacant government guest house, where they intend to spend a few days. The film chronicles this interval, giving us an insight into the character of these men and the interaction they have with other people, often provoking them into reflection or change.We get an insight into their personalities in the initial period of their holiday, their sense of needing to break convention to feel some freedom from their daily routine – they bribe the caretaker to assign the guest room to them, refrain from shaving, launch drunken diatribes at the local arrack shop…the hedonistic lifestyle in short. These scenes are presented with a wholly observant attitude, never persuading the audience to either like or dislike the characters.Things take a big turn when they run into a couple of charming ladies living at a nearby bungalow. Invited by the surprisingly trustful and hospitable patriarch of the house, they meet the lovely enigmatic Aparna (Sharmila Tagore) and her cheerful but widowed sister-in-law Jaya. This part of the film is a beautiful study of the mental processes of male-female relationships in modern society: The rituals of socially acceptable cordial behavior mixed with the low-key sensuality and courtship that occurs at the outset of growing acquaintance with the opposite sex. Both Aparna and Jaya are warm-natured, confident and sophisticated women, and one well identifies with the sense of yearning mixed with hesitation that develops within the men when they interact with them. In the while Hari gets passionately involved with a young tribal woman, Duli (Simi Garewal, of all people).The last phase of the film is when their interactions have proceeded just beyond the preliminary stage. Ashim learns enough about Aparna for him to regard her as more than one of the city women he meets at so many parties, and observes aspects of her nature that lead him to feel guilt for his superficial self-oriented thinking. Sunjoy who grows increasingly comfortable in the company of Jaya gets a jarring moment; and Hari's heated pursuit of Duli ends in a rude blow. But this is not to say that the film ends on a dark note…not at all. Life for our characters goes on…and who knows what the future will bring? ADR's main strength is the completely natural way it presents its characters and situations. We've seen courtship rituals and the associated comedy thousands of times on film…a shipload of Bollywood films in the gaudily colored 60's and the 90's onward was devoted to increasingly bizarre and tasteless depictions of social romantic behavior. But you need to see a film like this to appreciate really how intricate and touchingly fragile the whole ritual can be, and how the anticipation of the man-woman relationship relates to and affects the existing behavior and thought process of the persons involved. It takes the deftness of touch of a Ray to show it to us in this light.Which brings me to the rare sour note in my experience of ADR: The 'transformation scene' of Jaya, the details of which I will not spill for the benefit of those that have not yet seen the film. I understand that Ray wanted to force some kind of a confrontation of the issue of Jaya being a widow and the social constraints upon her, but the way he has done it appears to me as very contrived and gauche, and a huge letdown given the immense easy-going charm of Kaberi Bose's performance up to that point.On a slighter note, Simi Garewal's hilariously accented Bengali makes her tribal character a hard act to digest.But on the whole ADR is a terrific movie of its type, leisurely but always focused, personal but never self-indulgent.
