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 spends from his last coffers just to spite his competitor.
Roy’s Friends
None. Not explained in the movie, for obvious reasons.
Roy’s Neighbour
Mahim Ganguly gains in leaps and bounds, while Roy’s life crumbles — the irony of laziness rewarded with misery.
Roy’s Mansion
Once majestic, now in ruins. A perfect metaphor for Roy’s own decaying pride and neglect.
Roy’s Death
Blood on his own hands. He drinks excessively, rides recklessly, and seals his tragic fate.
Roy’s only saving grace are his loyal servants, Ananta and Prasanna. But had Roy lived longer, they would likely have left him too. His end was inevitable — and entirely self-inflicted.
When the movie ended, I didn’t feel pity for Roy. I was almost relieved he died — the perfect end to an autotragic life.
The zamindar is none other than Chhabi Biswas, who also is our main protagonist in Parash Pathar
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