The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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There's a lot of meat in "The Big City.'' Through his story and his images, Ray always presents Arati in a positive light. No matter how bad things become at home, the viewer understands her good intentions, intelligence, quick-wittedness and resolve. She's also beautiful, as are her Bengali co- workers.

Ray's admiration and respect for women comes through clearly. His black-and-white images are clean and graceful, and he loves close-ups that allow viewers to see emotions flicker across the faces of his characters. Equally appealing is the opportunity to listen to the Bengali language, with English phrases tossed in, mostly in the course of office dialogue (a ``none of my business'' here, a ``strictly speaking'' there).

Somewhat more difficult to accept, for me at least, was the pace of the movie, which moves along in such a quiet and stately manner that I was squirming in my seat. There are so many ways in which Ray is entitled to demand respect that I felt absolutely naughty wanting something to happen quickly.

Excerpt from the San Francisco Chronicle

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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Satyajit Ray's fascination with Rabindranath Tagore culminated in CHARULATA, his twelfth film and arguably his greatest achievement. Based on a short story by Tagore, it is a surprisingly modern tale of love, lust, fidelity, and a woman's growing self-awareness against the backdrop of the Bengal Renaissance, a vibrant intellectual awakening in 19th-century India.

Charulata (Madhabi Mukherjee), the childless wife of a wealthy Bengali intellectual, lives in seclusion in her spacious and ornate home in Calcutta, while winds of change are blowing away the cobwebs outside. Her husband, Bhupati (Sailen Mukherjee), inspired by Mill and Bentham, spends his inherited wealth in the pursuit of freedom and equality, by editing an English-language liberal political weekly. But he has no time for Charu, who has little to do in a home run like a well-oiled machine by a fleet of old retainers.

With its beauty, structural perfection and conceptual purity, CHARULATA remains a triumph of Ray's craftsmanship and cinematic vision. The exquisite interiors created by art director Bansi Chandragupta were among the best of his work, as were the subtle use of lights and the sensitivity of Subrata Mitra's camera. The costumes, the faces, and the detailed structuring of the film created a superbly colourful piece of monochrome cinema. CHARULATA has the quality of a miniature painting, where minute details are revealed by a stroke of the finest brush, and the unspoken is made visual by a mere suggestion.

Excerpt from TV Guide

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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Satyajit Ray's 1966 feature comes at the tail end of his early realist period, which included most of the films (the Apu trilogy, Devi, Charulata) that won him his reputation in the West. A popular actor reveals his life to a woman journalist, whose initial cynicism turns to sympathy as she comes to understand the young man's celebrity entrapment. With Uttam Kumar and the flowering perennial of Ray's major work, Sharmila Tagore.

Excerpt from Pat Graham's review at The Chicago Reader

Nayak is an atypical film for Ray because it focuses almost exclusively on one character and takes place almost entirely within one confined setting (the crowded compartments on a train). This narrow focus gives the film a sustained dramatic intensity and a stifling sense of oppression which makes it both compelling and subtly disturbing. The train journey as a metaphor for a man’s life is particularly appropriate for this film. The image of the rushing train set on a course from which it is impossible to deviate is a visual representation of Arindam’s existential nightmare - his is a future without choice or hope.

What the film is about is the slow unravelling of a man’s carefully constructed persona to reveal the tortured individual that lies beneath. The man who is described variously as a ’hero’ or a ’modern Krishna’ at the start of the film is ultimately exposed as a sad, pathetic wreck of a man who is trapped in a kind of parallel reality, unable to enjoy the simple pleasures of a normal life. The woman he meets on the train and who takes pity on him might have ended up his wife and saviour had he not fashioned himself as a god. In possibly the bleakest sequence of any Satyajit Ray film, our fallen hero appears ready to embrace death, his one final solace. Although he is pulled back at the last moment, we see his ineluctable future trajectory mapped out before him like a stairway to Hell. Those who climb the highest have the furthest to fall.

Excerpt from James Travers's review at Films de France

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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The Satyajit Ray Collection Vol.1 (1963-1966) [Re-UP]

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If, as Akira Kurosawa is reported to have said of Satyajit Ray, “To have not seen the films of Ray is to have lived in the world without ever having seen the moon and the sun”, then we’ve been living in a very feeble light for far too long. Artificial Eye have done much to, well, shed some light on the subject by extending their catalogue of the director’s films on DVD (The Apu Trilogy and The Chess Players) with the release of a further six films in the two volumes of The Satyajit Ray Collection. The transfers may not meet the highest standards, but working one presumes with the best available materials, these releases are certainly more than adequate presentations of the films. One can only hope that there are more on the way.

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