Out of Sight: “Charulata” and the Conflict Between Old and New

Off the Radar is a weekly column that features missed movie reviews that students can access for free through NYU’s streaming affiliate programs. Charulata is available to stream on Kanopy and HBO Max.

Bengali director Satyajit Ray, best known for his monumental Apu Trilogy, created one of cinema’s finest gems with 1964’s Charulata. The film deconstructs the female pursuit of artistic expression and the cultural landscape of 19th century India through a subtle, masterfully presented tale of a near-failed marriage.

Based on the Bengali polymath Rabindranath Tagore’s novella Broken Nest, Ray’s film follows Charulata (Madhabi Mukherjee), an isolated and artistically inclined woman whose loneliness is ignored by her busy, liberal-minded journalist husband Bhupati (Shailen Mukherjee). . Recognizing her aloofness and creative impulses – especially in regards to literature and poetry – Bhupati entrusts her poet cousin Amal (Sumitra Chatterjee) to guide and inspire her through their shared love of art.

Amal, who just graduated from college, loves to sing, write, play the piano and talk endlessly about the beauty of literature. It is in this context that he and Charulata connect. Charulata is described to the viewer as incredibly well-read and passionate about art. As they sit on the grass, exchanging poems and praising each other’s creativity, to their surprise, a deeper romantic attraction begins to develop.

In a way, this is what Charulata longed for: a partner with whom she can be herself, and someone who can encourage her to take bold artistic risks. It is with Amal’s inspiration that she writes a personal anecdote about her childhood in a Bengali village, which is eventually published in the local newspaper and sets her on the path to finding her own voice. However, these steps lead to heartbreaking results.

While Charulata’s desire for comfort and companionship is a central aspect of the film, Charulata is also a story about marriage. Near the beginning of the film, Charulata often tries to get Bhupati’s attention, going so far as to have Amal keep her company instead of himself. Here, there is a clear emotional detachment between Charulata and her husband, which confirms her growing relationship with Amal, her cousin. As the film progresses, Bhupati’s realization of his wife’s alienation becomes as clear as her reconciliation with fantasy and reality. Together, they eventually decide to rebuild their ruined nest and hopefully have a future together.

Ray’s films, while rich in storytelling, are also some of the best examples of purposeful filmmaking. The simplicity of the cinematography is wonderful, exuding even the most understated emotion just from the characters walking down the hallways. Ray, in addition to working with the camera, also composes music for each of his films. In the case of Charulata, the musical score perfectly matches the tone and drama of each scene, displaying genuine humanity as well as radiating a powerful sense of cinematic poetry.

One of the many topics that Ray explores in his filmography is his comments on British colonialism and its impact on the way of life of Indians and Bengalis; Charulata is no exception. As an editor, Bhupati usually dedicates his time to his political newspaper The Guardian, which he describes as Charulata’s “biggest rival”. He is obsessed with politics and government reform, which makes sense given India’s political climate in the 1800s under the British Empire. Similarly, the English language is a subtle yet important element of the film. It is often used by Bhupati and Amal as a means of mocking the British and criticizing Westernization. The use of English also puts an incredible emphasis on this particular subject, allowing for effective commentary on this imperialist era that is not exclusively cynical.

Charulata remains a vibrant and cohesive cinematic achievement. He conveys Ray’s poeticism and emotional intelligence—in addition to his ability for subtle social commentary—with a degree of mastery that surpasses cinematic prowess.

Contact Jezen Saada by phone [email protected]