Aranyer Din Ratri is an Indian Bengali adventure drama film released in , written and . Print/export. Create a book · Download as PDF · Printable version . Four friends from Calcutta city venture out to the forests of Palmau for a holiday excursion in car. They arrive at a little village in the state of Bihar. Not having. Review: Days and Nights in the Forest (Aranyer Din Ratri) by Satyajit Ray, Nepal Dutta, Ashim Dutta The first page of the PDF of this article appears above.
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(Aranyer Din Ratri). Director: Satyajit Ray. Screenplay: Ray, after the story by Sunil Ganguly. Photography: Soumendu Roy. Art Director: Bansi Chandragupta. Aranyer Din Ratri can be considered a turning point in Satyajit Ray's career. It When Aranyer Din Ratri was released in there was a strong disapproval in. RayÊs reputation abroad rests largely on the Apu trilogy (especially Pather Panchali, ) although Aranyer Din Ratri (Days and Nights in the Forest, ) .
The four friends are all educated and come from different layers of society, but the urge to escape from the daily grinding of city forces them to go out into the land of tribes. Of the four friends, Asim Soumitra Chatterjee , the leader of the pack, owns the car they drive in, has a cushy job, likes the company of girls and yet is very conscious of how he should be perceived by them.
Sanjoy Subhendu Chatterjee is a labour executive but would ideally want to immerse himself in literature.
Hari Samit Bhanja , a frank and straightforward cricketer, wants to forget the girl who dumped him. Shekhar Rabi Ghosh is the jester of the party, the only one without a job.
He has a roving eye but stays sober when his friends get drunk and vent their frustrations. They set out for the tribal Palamau , in Bihar , to tear themselves away from their regulated city life. They had read legends about this land, the tribal women who are open and simple and beautiful.
Wanting to break rules, they force a stay in a forest rest house by bribing the chowkidar, burn a copy of a newspaper in a symbolic gesture of cutting ties from civilization, deliberate on whether to shave or not and walk through the forest to get drunk at a country liquor shop. Hari gets close to tribal Santhal girl Duli Simi Garewal when she approaches the group for extra drink. Their resolve to be unshaven collapses when Shekhar sights two ladies Aparna Sharmila Tagore and her sister-in-law Jaya Kaberi Bose in the forest.
The four introduce themselves to this family and in the midst of the forest, the two urban groups of people are almost relieved to find someone from their part of society. Asim flirts with Aparna and coaxes her to show her room.
He is attracted to the elegant and enigmatic Aparna, but is unable to keep pace with her composure, presence of mind and intelligence.
Later Jaya invites all of them for breakfast the next day. At night the four friends go to drink alcohol again in the country liquor house. Hari is upset because he cannot see Duli Simi Garewal whom he had met previous night. While returning to their rest house, they stumble upon a car which they shout at without realizing it as the car of Aparna. They oversleep and miss the next day's breakfast. They find a packet of food lying outside their rooms and go to Aparna's house to return it.
The entire group decides to chat near the rest house while Aparna's father is away with Jaya's son for a circus. They play a memory game where each participant has to add a name to a chain of names of famous people, after repeating all the names in correct sequence.
The game reaches a crescendo, with only Asim and Aparna left in the fray, at which point Aparna pulls out, deliberately handing victory to Asim, who seems to have placed his entire confidence at stake on the win. The tensions peak at the village fair where the four friends go their own way. Shekhar goes off to gamble with money borrowed from his friends. Hari takes Duli into the forest and makes love to her. Aparna reveals her more vulnerable side that lies behind her composed exterior.
She also holds up a mirror to urban insensitivity by pointing out to Asim how despite having spent three days at the rest house, they never bothered to find out how grievously ailing was the chowkidar's wife. Sanjoy, held back by his middle class moralities, is unable to draw up courage to respond to Jaya's bold advances. But does it explain his own motivation? In a range of recent interviews, Chatterjee has highlighted a single factor that has kept him going: Satyajit Ray was only half a life for Chatterjee.
Ray may have caught him by his frantic fingers and helped him find a place under the magic lantern. Ray may have handed him part after part authored by himself; but after Ray and not apart from Ray Chatterjee has evolved on his own as a consummate artiste, the super-performer, the master thespian—especially in his successful portrayals of ageing, lonely men in film after film in the past two decades, a part that has found its climax in his role as King Lear.
Just out of university, Soumitra Chatterjee was a student of theatre maestro Sisir Bhaduri when, in the late s, he was referred to Ray by a common friend. And that was how Chatterjee burst onto the scene.
From a critical point of view, though, Abhijan was a bigger challenge for Chatterjee as an actor. In this lesser-known Ray film, co-starring Waheeda Rehman, Chatterjee played an immigrant, North-Indian Ali Khan Mahmudabad taxi driver, a sort of role far removed from his milieu. In a recent interview, he said that it was a Mahmudabad character he had barely known in real life and that he had had to draw a lot of inspiration from the FaridahZaman thecaravanindia Thank you script itself.
His apprehensions about the role used to haunt him in his sleep, he added. The SC has missed an opportunity to address some crucial questions about the implications After Kapurush, Chatterjee appeared as the shrewd and urbane Asim in Aranyer Din-Ratri in This of the Aadhaar programme. As the s arrived and Ray grew more and more restive with urban angst, homelessness and hopelessness, he went back to Chatterjee more sparingly. Chatterjee was deemed to be too soft, too dreamy to imbibe the torments of the new urban youth—and perhaps not as young as Ray would want the new characters to be.
So in the first half of the s, he brought in three new actors for his Calcutta Trilogy Pratidwandi, Seemabaddha, Jana Aranya , all of who could be trained to reflect that vibe. His last two films with Ray were Ganashatru and Sakha Prosakha In the former, an adaptation of the Ibsen play An Enemy of the People, he played a well-meaning doctor locked in battle with the local administration of a small town over contaminated water at a popular pilgrimage site; in the latter, he played a guileless, demented middle-aged man who watches in frustration as his extended family is sucked into a vortex of corruption and greed.
By this time, Chatterjee was greying and looked suitably mellowed to play characters fitting his age, a transition that Ray had helped him to make.
This was the typically middle-of—the-road cinema that was epitomised by Uttam Kumar, in which rich content, complex storytelling and bravura performance effortlessly coexisted with songs, music and, mostly, a happy ending. He also writes on current affairs, books, cinema and cultural politics.
Her first book of poems is forthcoming.
You can see his work at www. I do have some Mallarika Sinha Roy points and please remember that they are coming from a fan-girl of Chatterjee, and Ray, and Bengali films; and also from one who has learnt to like Uttam Kumar much later in life, not for his July 2, at 1: So much for the disclaimer. Some factual details first. In Ekhoni not Ekhuni there is a Chatterjee, but Shubhendu, not Soumitra while the other male character of importance, there are actually a few in the film is played by Swaroop Dutta.
The entire section, devoted to the hackneyed comparison between Uttam Kumar and Soumitra Chatterjee, is a little disappointing. I expected some innovative comparative analysis.
My own favourite comparison is always between the ways in which Chatterjee played Feluda, and Uttam Kumar played Byomkesh in Chiriakhana. Since both were Ray films of course in case of Feluda two films, but the character does not change and you devote quite some time to the relationships among these three — Ray, Kumar, and Chattrejee, it would have been really great to see how this troika can be made to talk to each other through two of the most enduringly popular Bengali characters.
Let us not pass verdicts like you have done that Nayak took away from Chatterjee any claim that he was the more intelligent and artistic of the two.