What Sachit Thinks

Teen Kanya: The Postmaster – A Poignant Reflection on Love and Loss | Film Review Teen Kanya: The Postmaster – Satyajit Ray’s Short Film Review Plot Summary 40 minutes of magic. That's what Satyajit Ray weaves in the first of the Teen Kanya anthology — The Postmaster . Your heart goes out to Ratan, the young orphan child who tirelessly serves her master, the postmaster. For Nandlal, this is a wretched posting, one that almost takes his life. But for Ratan, it is life-changing. She likes Nandlal. She happily does the chores and tends to him when he is unwell. But more than anything, he gives her ambition and hope. Nandlal teaches Ratan how to read and write, and encourages her to wear clean clothes — small gestures that transform her world. Character Analysis Nandlal, true to his character of being a weak person, cannot survive in Ulapore. He decides to quit his job and go back...

Devi (1960) – Satyajit Ray’s Bold Exploration of Faith and Blind Devotion | Film Review Devi (1960) – Satyajit Ray’s Bold Exploration of Faith and Blind Devotion Overview Satyajit Ray made a very bold movie with Devi (1960). In a country steeped in religious fervour and suffocating blind faith, Ray dares to question generally accepted norms. The film captures the clash of beliefs and the destruction that occurs when devotion turns into obsession. Themes of Faith and Conflict Essentially, Devi is about the collision of faiths — where one person’s belief becomes another’s undoing. Every character in the film is driven by a deeply personal version of faith, and Ray dissects each of them with profound empathy. Character Analysis 1. Kalikinkar Roy The patriarch of the family, Kalikinkar Roy (played by Chhabi Biswas), is deeply devoted to Goddess Kali. When he dreams of the De...

Parash Pathar (1958) – Satyajit Ray’s Magical Satire on Greed About the Film Parash Pathar (1958) is an astonishing film. Not because science fiction was conjured up by Satyajit Ray for Indian cinema, but because it was laced with satire. Well after the movie was over, I was thinking, “what is Mr. Ray trying to tell us?” Here is my take. The Setting: Post-Independence India The film is set in an India which has just gained independence and is struggling to stand on its feet. This is reflected through the life of Paresh Chandra Dutt , played by Chhabi Biswas, (see Jalsaghar ) the main protagonist — a rugged life, measly living quarters, and a hand-to-mouth existence. The world Satyajit Ray has painted through his films so far — poverty, realism, and human struggle — is intact here. (See the Apu trilogy - Pather Panchali , Aparajito and Apur Sansar ) The Twist: A Philosopher’s Stone But Ray has other plans. He breaks out of this mould with the help of the supern...

Jalsaghar (1959): The Autotragic Life of Biswambhar Roy | Satyajit Ray Film Review Jalsaghar (1959): The Autotragic Life of Biswambhar Roy I just coined that word in the headline. Doesn't exist in the dictionary. Autotragic is a person who is the architect of their own misery — someone who self-destructs. Which makes the main protagonist of Satyajit Ray's 1959 film, Jalsaghar (The Music Room), an autotragic. Let's dissect each aspect of Mr. Biswambhar Roy's life and see if the autotragicism (that's a new word too!) holds true. Roy’s Zamindari In tatters. He has been negligent towards his duties, and his income is now zero. Even his wife laughs at him when he suggests he will tend his land. Roy’s Family They die — because of him. He calls them for a music show he organizes, and they perish in a typhoon. Roy’s Money Fast depleting. He spends lavishly on recitals in the music room. He even ...

Apur Sansar (1959) – A Moving Finale to Satyajit Ray’s Apu Trilogy | Film Review Apur Sansar (1959) – The World of Apu The Moving Finale to Satyajit Ray’s Apu Trilogy Apur Sansar , the final film in Satyajit Ray’s celebrated Apu Trilogy , is a tender, tragic, and transformative story adapted from Bibhutibhushan Bandopadhyay’s novels. Ray brings it to life with unmatched subtlety and grace. Apu and His Mother Their separation marks the first emotional blow — a conflict between Apu’s ambition and his love for his mother. Her death leaves a lasting wound. Apu and His Wife Sharmila Tagore as Aparna gives up comfort and wealth to build a life with Apu. Her sudden death is devastating — the sledgehammer that breaks Apu’s spirit. Apu and His Friend Pulu Pulu’s loyalty holds the story together. He guides Apu through every storm — from struggle to marriage to eventua...

Aparajito (1956) – A Tender Portrait of Mother and Son | Film Review Aparajito (1956) – The Unvanquished The Tender Bond Between Mother and Son Aparajito , the second film in Satyajit Ray’s Apu Trilogy , is a quiet yet profound exploration of love, loss, and growing up. It’s a film that makes your heart ache with its simplicity. Sarbajaya’s Transformation From a humble homemaker, Sarbajaya evolves into the pillar of her family. Having already lost her daughter and husband, she devotes herself entirely to Apu’s education and future. Her greatest pain comes not from hardship, but from separation — living without her only son. Apu’s Coming of Age Trained first as a priest, Apu discovers his real passion in academics. His journey to Calcutta symbolizes both freedom and guilt — the guilt of leaving behind his ailing mother. Her death becomes the silent fuel behind his ambitio...

Pather Panchali (1955) Review | Satyajit Ray’s Poetic Debut Pather Panchali (1955): Satyajit Ray’s Poetic Debut Why on earth had I not watched any Satyajit Ray film till now? Puzzles me. But I'm setting out to watch every film made by the great man. Pather Panchali is my kind of cinema. Simple, yet complex. Subtle, yet bold. Rambling, yet assertive. The story is quite loose and banal, but it is the telling of the story that makes an impact. What drew me to the film is the play of characters, and the attention to detail. Your heart goes out to each of the pivotal characters — Sarbajaya , the forced matriarch; Durga , the dreamy daughter; Apu , the boy turning into a man; and Indir , the penniless beggar. Each of them tells their own story, not through words, but through their eyes and body language. Usually, in a film, you can make out the star of the show, but you can't r...