Monihara (1961) – Satyajit Ray’s Rare Misfire | Teen Kanya Review
For the first time, I found myself not enjoying a Satyajit Ray film. Monihara — the second story in the Teen Kanya anthology — feels unlike Ray’s usual work. It lacks what he does best: deep character exploration. Instead, the film drifts toward plot-heavy storytelling and a flirtation with the horror genre. Unfortunately, neither is developed enough to make the narrative compelling.
A Frame Narrative That Fizzles
The film opens with a voyeuristic narrator telling a story to a mysterious stranger on a riverbank. The stranger is obviously more than he seems, and the “reveal” at the end is entirely predictable. The setup promises suspense but never quite builds it.
Characters That Don’t Add Up
Phanibhushan Saha and his wife Monimalika move into their inherited mansion in Manikpur. Saha is wealthy thanks to a thriving jute business. He loves his wife deeply — but Moni loves only her jewellery.
Her behaviour is erratic, bordering on unhinged.
Why is she like this? Never explained.
An ex-lover, Madhusudhan, enters the picture. Moni despises him, yet gets him a job in her husband’s office.
Why? Not answered.
When Saha suffers a major business loss, Moni becomes paranoid that he will ask for her jewels.
Saha leaves for Calcutta to raise funds, and Moni decides to flee to her father’s house — with Madhu’s help.
Why him? Again, not answered.
Madhu, played with obvious theatricality, agrees out of greed. Their fate is left to the viewer’s imagination.
A Horror Twist Without the Horror
Saha returns to an empty home. Grief-stricken, he finally sees Moni again — but as a ghost, reaching out to claim the necklace he had bought for her. All he sees is a skeletal hand adorned with bangles. The moment should be chilling, but the execution feels flat.
The film ends with the unsurprising revelation that the riverside stranger was Phanibhushan Saha himself.
Final Thoughts
Monihara left me disappointed. It feels like Ray stepped into the horror genre without fully committing to its atmosphere or its emotional stakes. Characters behave without clear motivation, and the central mystery never gathers enough tension.
Still, I’ll cut Mr. Ray some slack. Even the masters are allowed one misstep.
If you’re interested in the other stories of Teen Kanya, here’s my review of The Postmaster (1961).
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