Teen Kanya (1961): Sampati – Review
A Return to Ray’s Strengths
After the misfire of Monihara, Satyajit Ray returns with full command in Sampati, the final jewel in the Teen Kanya anthology. It feels as if Ray goes back to what he has always done best — the soil of rural Bengal, delicately observed lives, and character journeys unfolding with poetic clarity.
Story & Themes
At the centre of Sampati are two young protagonists locked in a constant emotional tug-of-war: Mrinmoyee (played by a young and radiant Mrinal Sen) and Amulya (Soumitra Chatterjee, still memorable from the delectable Apur Sansar).
Mrinmoyee is a spirited village girl who refuses to surrender her childhood. She enjoys her free, playful life and sees no reason to conform. But her world collapses when Amulya decides that she is the girl he wants to marry — despite the fact that she mocks him and laughs at his expense. Perhaps he wants to tame her, perhaps he enjoys her wild, untamed nature — we never truly know.
What follows is a deeply human exploration of:
- The crushing weight of patriarchy
- The journey from childhood into imposed adulthood
- The pain of being misunderstood
- Social forces that attempt to contain individuality
Ultimately, Mrinmoyee gives in, not necessarily because she wants to, but because society leaves her little choice. One wonders how powerful the film might have been had Amulya been made to truly earn her love — but in the early 1960s, such an ending may not have been palatable.
Performances
Despite being a two-character drama, Sampati truly belongs to Mrinmoyee. Mrinal Sen (not to be confused with the director of the same name) plays her with innocence, stubbornness, and a fierce individuality. Soumitra Chatterjee brings his trademark softness to Amulya, making his motivations feel subtle and layered.
Direction
Ray’s direction feels organic and confident again. The emotional beats are measured, the rural setting becomes a living presence, and the film observes rather than dramatizes — a hallmark of Ray at his best.
A Fitting End to Teen Kanya
After the wistfulness of Postmaster and the supernatural unease of Monihara, Sampati brings the anthology back to earth — to human struggle, personal rebellion, and reluctant acceptance.
Conclusion
Sampati is a warm, insightful, and emotionally grounded return to form for Ray. Even if the ending conforms to the expectations of the era, the journey — especially Mrinmoyee’s resistance — makes the film a powerful and resonant experience.
Read the other reviews from Teen Kanya:
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