There have been a few distinct and unique female characters in the cinema of Satyajit Ray. In the 3rd episode of Ray@100 Video Lecture Series, Silhouette editor Amitava Nag looks at Arati of Mahanagar and the women characters in The Calcutta Trilogy.
There have been a few distinct and unique female characters in the cinema of Satyajit Ray. There are significant mother figures as Indir Thakrun and Srabajaya in the Apu Trilogy apart from a few others in the later films. There are heroines as well, wives mostly, in Ray’s classics including Charulata, Mahanagar, Ashani Sanket, Teen Kanya and others. In addition there are a few ‘daughter’ characters in the form of Durga (Pather Panchali), Manisha (Kanchenjungha), Neelima (Mahapurush), Indrani (Ganashatru) and Anila (Agantuk) and daughters-in-law viz. Jaya (Aranyer Din Ratri), Kamala (Jana Aranya) and Uma, Tapati (Shakha Prasakha) to name some. In a few case Ray’s camera had observed the repressed sexual desires of his female characters and their quests for love beyond marital boundaries.
In this video lecture, Silhouette editor Amitava Nag looks at Arati of Mahanagar and the women characters in The Calcutta Trilogy. While Arati represents a lack of personal desire for service of the larger familial and social expectations, Sutapa or Kauna of the trilogy stand for desire of the self. Ray uses mirror and window as two metaphorical tools to bring out the aspects of the desiring and confident woman of middleclass Bengali household in the ’70s. In the final take whereas the men become victims of middleclass morality and constraints, the female characters are strong-willed and confident, they go out to work and to win the choices that life has to offer them with.
Silhouette editor Amitava Nag explores several such interesting and unique elements of the DESIRING WOMAN in Ray’s cinema in the THIRD episode of RAY@100 Lecture Series Brought to you by Silhouette. Watch this space for more episodes!
Whether you are new or veteran, you are important. Please contribute with your articles on cinema, we are looking forward for an association. Send your writings to firstname.lastname@example.org
We are editorially independent, not funded, supported or influenced by investors or agencies. We try to keep our content easily readable in an undisturbed interface, not swamped by advertisements and pop-ups. Our mission is to provide a platform you can call your own creative outlet and everyone from renowned authors and critics to budding bloggers, artists, teen writers and kids love to build their own space here and share with the world.
When readers like you contribute, big or small, it goes directly into funding our initiative. Your support helps us to keep striving towards making our content better. And yes, we need to build on this year after year. Support LnC-Silhouette with a little amount – and it only takes a minute. Thank you
Silhouette Magazine publishes articles, reviews, critiques and interviews and other cinema-related works, artworks, photographs and other publishable material contributed by writers and critics as a friendly gesture. The opinions shared by the writers and critics are their personal opinion and does not reflect the opinion of Silhouette Magazine. Images on Silhouette Magazine are posted for the sole purpose of academic interest and to illuminate the text. The images and screen shots are the copyright of their original owners. Silhouette Magazine strives to provide attribution wherever possible. Images used in the posts have been procured from the contributors themselves, public forums, social networking sites, publicity releases, YouTube, Pixabay and Creative Commons. Please inform us if any of the images used here are copyrighted, we will pull those images down.