Set in late 19th Century India, the film revolves around a 17-year old young woman who is convinced by her father-in-law that she is the incarnation of a goddess he worships where he and other follows believe she can save everyone while her husband is skeptical about all of this following his return from his studies in Calcutta. It is a film that explore this idea of religious beliefs as it reaches elements of fanaticism and its conflict with rational thinking during a crucial period in India’s history under British rule. Satyajit Ray’s screenplay explore this family dynamic under the rule of this landlord in Kalikinkar Roy (Chhabi Biswas) who is a devoted worshipper of the goddess known as Kali while his younger son Umaprasad (Soumitra Chatterjee) is studying to become a teacher as well as learn English as doesn’t agree with his father’s beliefs but doesn’t challenge them. Leaving for Calcutta to finish his studies, Umaprasad leaves his young wife Doyamoyee (Sharmila Tagore) with his father, older brother Taraprasad (Purnendu Mukherjee), his wife Harasundari (Karuna Banerjee), and their young son Khoka (Arpan Chowdhury) whom Doyamoyee is fond of.
When Kalikinkar has a dream about Kali, he sees Doyamoyee’s face in his dream where he ponders of she is the goddess Kali. It would take a few small things for Kalikinkar to be convinced as does Taraprasad and a few of Kalikinkar. Yet, Harasundari is skeptical for much of the film where Doyamoyee is given her own room but it also comes with a sense of isolation and an identity crisis. Even when a man whose grandson becomes ill where he prays to Doyamoyee and beg her to heal his grandson as it is a key moment in the second act that play into Kalikinkar’s own faith but also Doyamoyee’s identity crisis as she becomes more confused. When Umaprasad returns from Calcutta, he is baffled but also troubled by the throngs of people going to his wife knowing that she’s just an ordinary young woman.
Ray’s direction is definitely ravishing in not just the intimate moments that occur in the film but also the scope of the locations as it is shot largely in the Bengal region in India. While there are some wide shots of the locations in the areas near the rivers and long grassy fields, Ray does maintain some simplicity in his compositions in the way he presents Doyamoyee as she is in the middle of this shrine being worshipped through close-ups and medium shots. The scenes at the home are simple with the rooms being also claustrophobic as it play into Doyamoyee’s isolation as well as the tension that looms in the house with Kalikinkar making the home a place of worship with servants treating Doyamoyee with caution fearing they might cause trouble. Even as Ray keeps the close-ups tight while creating some unique imagery that play into this sense of fanaticism including a wide shot of people walking on the beach of the river as they line-up to meet Doyamoyee.
The film’s third act that relates to Umaprasad upon his return from Calcutta where he is troubled by what he is seeing as he is this representation of someone that is rational and is worried about his wife’s psyche. Even as he tries to get her out of his family’s house, Doyamoyee is just unsure where Ray’s camera is fixed upon this shadow of a shrine as if it is telling her something while Umaprasad is confused as he goes to his professor (Kali Sarkar) who gives him some advice as it relates to this conflict about rationality and faith. Even as it play into its climax where Ray definitely makes some commentary about the idea of blind faith and its fallacies where the end results are tragic. Overall, Ray crafts a riveting and somber film about a young woman who is seen by her father-in-law as the reincarnation of a goddess that leads to chaos.
Cinematographer Subrata Mitra does amazing work with the film’s black-and-white photography with its natural lighting for the daytime scenes along with some unique schemes for some of the daytime interiors as well as scenes at night. Editor Dulal Dutta does excellent work with the editing as it is largely straightforward with some rhythmic cuts to play into some of the drama. Art director Bansi Chandragupta does fantastic work with the look of the home where the family live in as well as the shrine that Kalikinkar has created for Doyamoyee. The sound work of Durgadas Mitra is brilliant for its natural approach to sound in how some of the music is presented on location as well as the sparse moments in the river. The film’s music by Ali Akbar Khan does incredible work with the film’s score with its usage of sitars and percussions to play into some of the dramatic tension as well as how some of the music is played on location including a song sung by a man that becomes a key moment in the film.
The film’s superb ensemble cast feature some notable small roles from Anil Chatterjee as a friend of Umaprasad in Bhudeb who go to him for advice in pursuing a widow, Kali Sarkar as Umaprasad’s professor who gives him advice on how to confront his father but also to not create further chaos, Mohammed Israil as an old man who renounced his faith in Kali until his grandson becomes ill, Karuna Banerjee as Taraprasad’s wife Harasundari who is skeptical about Doyamoyee’s persona as well as what her father-in-law believes in, Purnendu Mukherjee as Umaprasad’s older brother Taraprasad who is skeptical about Doyamoyee until he becomes convinced that she is an avatar of Kali, and Arpan Chowdhury as Taraprasad and Harasundari’s son Khoka whom Doyamoyee is fond of as she often plays with him until he deals with her new role as this goddess. Chhabi Biswas is excellent as Kalikinkar Roy as the patriarch of the family and a landlord as he is also a devoted follower of Kali where he is convinced that Doyamoyee is an incarnation of Kali where he loses sight of rationality while also is blinded by his delusions.
Sharmila Tagore is brilliant as Doyamoyee as Umaprasad’s wife as a 17-year old woman who is believed by her father-in-law to be this incarnation of Kali where she becomes confused by her identity as it added to some emotional and mental torture over the new role she’s playing. Finally, there’s Soumitra Chatterjee in an amazing performance as Umaprasad Roy as a young man who is hoping to bring a good life for his wife while he goes to Calcutta for his studies to become a teacher while learning English where he later deals with the chaos his father has brought and the anguish his wife is dealing with.
The 2021 Region A Blu-Ray release from the Criterion Collection presents the film in a new 4K digital restoration in its original 1:37:1 aspect ratio with an uncompressed monaural soundtrack that is also restored in its original Bengali language with a new English subtitle translation. The Blu-Ray release feature two special featurettes relating to the film as the first is a sixteen-minute, twenty-second piece from 2013 with interviews with two of the film’s stars in Sharmila Tagore and Soumitra Chatterjee where they both talk about the film, their experiences working with Ray, and the controversy about the film following its release in 1960. Tagore was only 14 when she made the film as it was her second collaboration with Ray as she was aware of the subject matter as well as what her character was going through. Chatterjee revealed a lot of the conflict that the film discussed as it was also happening in the late 1950s/early 1960s as it relates to the view of orthodox Hindus and their ideals which Chatterjee described as backwards. Tagore revealed that the film upon its release wasn’t well-received by both critics and audiences in India yet Ray was undeterred knowing that he was going to cause problems with that audience.
The 17-minute video essay by film scholar Meheli Sen discusses the film and its themes as well as the original short story that Ray would expand upon. Notably as it play into some of the social tension that was happening with modern ideals and the views of orthodox Hindus as it still happens in the 21st Century but on a smaller scale. Sen also talks about the role that women had to play in the late 19th Century and how the character of Doyamoyee was someone who never had any independent thoughts until she met Umaprasad. Sen also talks about the clash between rational thinking from the modern world and the irrational ideas from orthodox Hinduism as it relates to the film but also the times in which there were people wanting to break from these ideas in society in the hope they can create a better future despite being under British colonial rule.
The Blu-Ray set also features a booklet that includes an essay entitled Devi: Seeing and Believing by Devika Girish, who is the co-deputy editor of Film Comment magazine as she writes about the film. Notably as she describes the film as Ray’s most political film as it relates to the conflict with post-colonial India, just years removed from the Partition, from the orthodox Hindus and young people wanting a more rational idea that doesn’t believe in superstition. Girish felt that Ray would use the source material of the book to comment on this current conflict by setting the story in the late 19th Century as well as how Ray portrays women who are stuck in a certain identity they have to play. Even as it would begin a new theme that Ray would explore in his films about women trying to find their own voice in India as it is a great essay to read about this film.
Devi is a sensational film from Satyajit Ray that features great performances from Chhabi Biswas, Sharmila Tagore, and Soumitra Chatterjee. Along with its supporting cast, ravishing visuals, its exploration of religious fanaticism and loss of identity and rationality, and its haunting music score. The film is definitely a mesmerizing yet somber film that explore a family being undone by an old man’s delusions towards his daughter-in-law as she struggles with her identity and her husband trying to make sense of all of this chaos. In the end, Devi is a spectacular film from Satyajit Ray.
Satyajit Ray Films: Pather Panchali - Aparajito - (Parash Pathar) – The Music Room - Apur Sansar - (Teen Kanya) – (Rabindranath Tagore) – (Kanchenjunghar) – (Abhijan) – The Big City - Charulata - (Two) – (Kapurush) – Nayak - (Chiriyakhana) – (Goopy Gyne Bagha Byne) – (Aranyer Din Ratri) – (Pratidwandi) – (Sikkim) – (Seemabaddha) – (The Inner Eye) – (Ashani Sanket) – (Sonar Kella) – (Jana Aranya) – (Bala) – (Shatranj Ke Khilari) – (Joi Baba Felunath) – (Hirak Rajar Deshe) – (Pikoo) – (Sadgati) – (Ghare Baire) – (Sukumar Ray) – (Ganashatru) – (Shakha Proshakha) – (Agantuk)
© thevoid99 2022
Written, directed, co-edited, and music by Satyajit Ray, Nayak (The Hero) is the story of a movie star being interviewed by a journalist on a train as he deals with his persona and status just as he’s traveling to receive a major award. The film is a study of a movie star as he looks back on his life and career as he’s also facing his first major failure as well as the image that he’s created. Starring Uttam Kumar, Sharmila Tagore, Bireswar Sen, Nirmal Gosh, Premangshu Bose, Somen Bose, Sumita Sanyal, Ranjit Sen, and Bharati Devi. Nayak is an evocative and riveting film from Satyajit Ray.
A film star is traveling to Delhi via train to receive a major film award as he is also dealing with the scandal and the release of a new film that is likely to be a flop where he meets a journalist who is trying to get something for her women’s magazine. It’s a film that is told in the span of 24 hours as it play into a man that has to take a train to Delhi due to unavailable flights where he meets an array of passengers on the train as well as think about his past and other aspects of his life. Satyajit Ray’s screenplay doesn’t have much of a structure as much of the film is set in a train though it begins at a hotel where the film star Arindam Mukherjee (Uttam Kumar) is talking with his manager Jyoti (Nirmal Gosh) who is trying smooth things over. On the train, Mukherjee meets other passengers including a family that is staying in his compartment while an editor/journalist in Aditi Sengupta (Sharmila Tagore) is interested in interviewing him for her fledgling magazine. The interviews would force Mukherjee to think about past events in his life as well as a couple of surreal dreams that play into the decisions he’s made in his life.
Ray’s direction does have a flair for style in the two dream sequences the film has yet he maintains an air of simplicity into his direction as well as shooting scenes on a train. While there’s some wide shots in some of the locations, much of Ray’s direction is intimate to play into the somewhat-claustrophobic feel of the train compartment and dining cars. There aren’t a lot of movements inside the train as Ray would use close-ups and medium shots to establish the setting as well as a reaction of the characters in scenes that add to the drama. For Mukherjee, Ray would create scenes that play into this man’s larger-than-life persona where he arrives to station or at a stop with people wanting his autograph yet he is given a chance to be himself at the compartment he’s sharing with a family. Ray would also play into the sense of isolation that would occur in not just Mukherjee who is coping with his identity. There’s also a couple whose husband is trying to get to know a businessman with the wife being used as a favor for the businessman as well as Sengupta’s friends trying to get her to interview Mukherjee for the magazine.
The film would also contain sequences outside of the train as it relates to flashbacks and a couple of surreal dream sequences. The latter of which doesn’t just play into some of the regrets that Mukherjee has but also the anguish he’s dealing with as it relates to his fame. The flashback scenes has Ray showcase a man that is learning about his craft as an actor where he works with the veteran actor Mukunda Lahiri (Bireswar Sen) on his very first day as a film actor where Mukherjee copes with the disappointing experience while also wondering what his mentor in Shankar (Somen Bose) would’ve thought. Adding to the drama is flashbacks that has Mukherjee being famous where he deals with an old friend in Biresh (Premangshu Bose) who is a political activist as well as a young woman who wants to be an actress. It play into a man trying to protect his image but also one that is becoming more difficult due to his fame.
Editing with Dulal Dutta, Ray’s approach to the editing would allow him to creating some unique rhythmic cut for the surreal dream sequences along with bits of jump-cuts for scenes on the train as it help add to the drama once the film progresses into its destination. Also serving as the film’s music composer, Ray’s score with its usage of traditional Indian strings and percussions do have some somber moments in the train with its serene orchestral pieces while using heavy percussions for the dream sequence to establish the guilt that Mukherjee is dealing with. Particularly as he would converse with Sengupta about his faults and knowing that his film will fail as Ray provides a sense of humanity into a man who is being seen by nearly everyone as something larger-than-life. Overall, Ray crafts an intoxicating and rapturous film about a film star traveling to Delhi via train as an interview with a journalist forces him to look back at his journey into stardom.
Cinematographer Subrata Mitra does brilliant work with the film’s black-and-white cinematography where it has a straightforward look for many of the scenes in the train to the usage of stylish lights for some of the flashbacks and dream sequences. Art director Bansi Chandragupta does excellent work with the look of the hotel room and homes that Mukherjee live in as well as the look of the scenes in the dream sequences. The sound work of Nripen Paul, Atul Chatterjee, and Sujit Sakar is fantastic for the way a train sounds as well some of the scenes involving crowds.
The film’s terrific cast include some notable small roles from Gopal Dey as the train conductor, Satya Banerjee as a swami who would chat with the businessman about a possible business venture late in the film, Jogesh Chatterjee as the elderly journalist who preferred silent films over the current films of the day, Subrata Sen Sharma and Jamuna Sinha as Sengupta’s friends who encourage her to interview Mukherjee, Kamu Mukherjee and Susmita Mukherjee as a traveling couple on business with the latter as the wife who feels mistreated by her husband who wants to pimp her out for business reasons, Ranjit Sen and Bharati Devi as the couple in the Bose who shares their compartment with Mukherjee, Lali Chowdhury as their fever-stricken daughter whom Mukherjee expresses concern for, and Sumita Sanyal as an aspiring actress in Promila Chatterjee who would audition for Mukherjee in a flashback as it would eventually lead to scandal for him. Premangshu Bose and Nirmal Gosh are superb in their respective roles as Mukherjee’s friends in Birish and Jyoti with the former being a political activist who wants Mukherjee to help him while the latter is Mukherjee’s manager who is trying to handle all of the issues that Mukherjee is dealing with.
Somen Bose is excellent as Mukherjee’s mentor Shankar as a man who ran a theatre group that Mukherjee was a part of while isn’t fond about the idea of cinema believing that actors are puppets in the world of film. Bireswar Sen is brilliant as the veteran actor Mukunda Lahiri as a man who doesn’t seem fond of Mukherjee on Mukherjee’s first day while being someone who has a lot of pride yet is forced to deal with his failing fortunes when he turns to Mukherjee years later for help. Sharmila Tagore is amazing as Aditi Sengupta as a journalist/magazine editor trying to find a story for her magazine where she meets and interviews Mukherjee as she tries to understand what he’s dealing with while admitting to not being fond of his films due to their lack of realism. Finally, there’s Uttam Kumar in an incredible performance as the film star Arindam Mukherjee as a movie star who is traveling to Delhi to pick up an award as he deals with his persona as it’s a performance filled with some restraint as well as a befuddlement into the way things are as it’s a performance to see.
The 2018 Region A/Region 1 Blu-Ray/DVD release from the Criterion Collection presents the film in a newly restored 2K digital transfer in the film’s original 1:33:1 theatrical aspect ratio with Dolby Digital mono sound (uncompressed in its Blu-Ray release) in its Bengali language with newly improved English subtitles. The special features include a 12-minute interview with actress Sharmila Tagore from a program back in 2008. Tagore discusses working with Ray having collaborated with him in the film Apur Sansar when she was in her teens as she revealed that Ray didn’t work with the non-professional actors in the same he would direct more professional actors like Uttam Kumar whom he would give more instructions. While Kumar was a big star at the time, he was also quite humble and generous towards the less-experienced actors as Tagore revealed what Indian cinema was like before Ray which was more akin to a less realistic style. It’s a fascinating interview from someone who knew what Ray was about as well as the kind of films he’s made throughout his career.
The 25-minute featurette from film scholar Meheli Sen has her talking about the film and its importance in not just Bengali/Indian cinema but also as a major turning point for Ray’s career. While it wasn’t a commercial success, the film did showcase a new territory that Ray was going to venture into as it relates to the growing sense of modernism that was emerging in India. Even as he would provide some criticism about the film industry in India that was more of a commercial market rather than an artistic platform. Sen also discusses the collaboration between Ray and Uttam Kumar as the latter was a major film star with Bengali/Indian audiences where Kumar was given the chance to play a role he would never have done before this film. The film also has Ray comment on his views on politics and why he’s apolitical as he would express it in a scene that has Mukherjee deal with the implications of his involvement. It’s a compelling piece that explain the film’s influence as well as the fact that Ray admittedly borrowed ideas for the film from Federico Fellini’s 8 ½.
The DVD/Blu-Ray set also includes a booklet that features two pieces of text relating to the film. The first is an essay by novelist/writer Pico Iyer entitled Depths and Surfaces as it discusses the film and its themes. Iyer says the film marks the beginning of a new period for Ray as he wanted to make something more accessible but also say something about Bengali cinema and its lack of realism. Iyer also reveals that Ray was also full of contradictions about the films he’s made as it was about people in rural India yet they were seen more by people in New York City and Europe rather than the common man in India. Iyer also play into Ray’s need to maintain something real but also demystify the myths of the movie star where Iyer also talks about Kumar’s star power as he was considered a god-like figure as he took the film because he wanted a challenge and to work with Ray. It’s an essay that is riveting into the many ideas of Ray’s film.
The second text piece entitled In Memory of Uttam Kumar is a eulogy written by Satyajit Ray at Kumar’s funeral in 1980 that was transcribed for a magazine journal 12 years later. It’s an earnest piece that has Ray talk about Kumar’s talents as an actor and their collaboration together where Ray talked about the sense of restraint and charisma that Kumar had. He also talked about the myth of stardom where he says it’s an accidental as he cites Gregory Peck as an example of someone who became a star by accident despite such hesitation from film producers. Ray also talked about Kumar’s method as an actor as someone who had a sense of patience and understanding of the characters he played as well as be someone who had a way of reciting dialogue that he believes no one could do. It’s a touching piece of text that has Ray pay tribute to a cinematic figure that not many people outside of Bengali/Indian cinema would probably have heard of.
Nayak is a phenomenal film from Satyajit Ray that features tremendous performances from Uttam Kumar and Sharmila Tagore. Along with its gorgeous visuals, eerie music score, and captivating character study, it’s a film that explores a movie star dealing with his faults and the persona he’s created where he converses with a journalist who is trying to understand him. It’s also a film that has Ray exploring the complexities of iconic figures and their struggle to maintain a persona that also disconnects them from who they really are. In the end, Nayak is a spectacular film from Satyajit Ray.
Satyajit Ray Films: Pather Panchali - Aparajito - (Parash Pathar) – The Music Room - Apur Sansar - Devi – (Teen Kanya) – (Rabindranath Tagore) – (Kanchenjunghar) – (Abhijan) – The Big City - Charulata - (Two) – (Kapurush) – (Mahapurush) – (Chiriyakhana) – (Goopy Gyne Bagha Byne) – (Aranyer Din Ratri) – (Pratidwandi) – (Sikkim) – (Seemabaddha) – (The Inner Eye) – (Ashani Sanket) – (Sonar Kella) – (Jana Aranya) – (Bala) – (Shatranj Ke Khilari) – (Joi Baba Felunath) – (Hirak Rajar Deshe) – (Pikoo) – (Sadgati) – (Ghare Baire) – (Sukumar Ray) – (Ganashatru) – (Shakha Proshakha) – (Agantuk)
© thevoid99 2018
Based on the novels of Bibhutibhushan Bandopadhyay, Apur Sansar (The World of Apu) is the story of a young man coping with being a writer as well as becoming a family man while struggling with himself. Written for the screen and directed by Satyajit Ray, the film is the third and final film of a trilogy films that plays into the life of Apu Ray as he becomes an adult as he deals with responsibility and identity as he is played by Soumitra Chatterjee. Also starring Sharmila Tagore, Alok Chakravarty, and Swapan Mukherjee. Apur Sansar is an extraordinary and rapturous film from Satyajit Ray.
The film plays into Apu becoming an adult as he deals with finishing his studies and desires to become a writer as he later copes with tragedy and strange circumstances where he also learns about being a father. It’s a film that has Apu not just trying to find himself as a man but also see what he could as a husband and father. Satyajit Ray’s script doesn’t rely on plot but does have plot-points where the first act is about Apu struggling to find work while continuing to make something of himself as a writer. When he’s asked by a friend to attend the wedding of his cousin, Apu reluctantly goes where certain situations happens and Apu is the one that ends up being married to a beautiful young woman in Aparna (Sharmila Tagore). While the marriage starts off with some hesitation, it does give Apu more to do as well as provide Aparna a broader view of the world as their marriage is shown for its second act. By the film’s third act, tragedy occurs that would force Apu to do drastic things as it relates to not just loss but also identity as he ponders more about himself and what to do with his life.
Ray’s direction is definitely engaging for not just where the film picks up from its predecessor but also what has changed as the film is set during the period of World War II. Shot in location in Calcutta as well as parts of rural India, the film plays into a world where Apu is trying to make it in the city but is still entrenched into his rural roots. Ray’s usage of wide and medium shots capture the vast beauty of the locations but also have something that showcases a world that is ravishing in its sense of tradition but also one that is changing in what is happening in Calcutta. Ray’s usage of close-ups do play into Apu’s own sense of grief and loss in its third act while there is an intimacy for the scenes with Apu and Aparna when they arrive at Apu’s apartment. There are also bits of humor in the way the two begin to fall in love as it Ray showcases that glimpse of happiness Apu would encounter but also what would lie ahead.
The direction also plays into this sense of struggle in what would happen to Apu in the film’s second half as he tries to make it as a writer while finding work in order to provide for his family. The element of tragedy would play into this third act where Apu wanders off as if he has no clue where he is going nor what is he going to do. Ray’s compositions become much richer for scenes where Apu looks at the sun while being on a mountain as it plays to not just everything Apu lost but also wonders if the freedom that he’s gain from these losses in his life brought any meaning to them. Especially as it relates to his own son whom he had very little clue about as it forces him to ponder what role he would play for this boy. Overall, Ray creates an exhilarating yet evocative film about a man coming to terms with loss and identity.
Cinematographer Subrata Mitra does incredible work with the film‘s black-and-white photography in capturing the richness of the locations whether it‘s the rainy look of Calcutta to the more ravishing look of the mountains and jungles as well as some of the film‘s interiors. Editor Dulal Dutta does excellent work with the editing in utilizing dissolves and montages to play into the drama as well as the evolution into Apu and Aparna‘s marriage. Art director Bansi Chandragupta does brilliant work with the look of Apu‘s apartment in Calcutta to the home of his friend where he would meet Aparna. Sound recordist Durgadas Mitra does terrific work with the sound from the raucous sound of the railway station that Apu lives nearby to the calm and atmospheric sounds of the mountains and rivers. The film’s music by Ravi Shankar is amazing for its sitar-driven score that plays into the dramatic elements of the film along with some string and woodwind-based pieces that play into some of the somber and upbeat moments of the film.
The film’s superb cast include some notable small roles from Abhitjit Chatterjee as Aparna’s brother, Dhiresh Majumdar and Sefalika Devi as Aparna’s parents, Dhiren Ghosh as Apu’s landlord in Calcutta, and Tusar Banerjee as the man Aparna was supposed to marry on her wedding day. Alok Chakravarty is fantastic as Apu’s son Kajal who would be raised by Aparna’s parents as he has very little idea who his father is as he acts out to the chagrin of his grandfather. Swapan Mukherjee is brilliant as Apu’s friend Pulu who looks over Apu’s work as a writer to see if it’s good for publishing while being the one to introduce him to Aparna who is his cousin. Sharmila Tagore is amazing as Aparna as a young woman who reluctantly marries Apu after her first attempt in an arranged marriage falls apart where she copes with his poor lifestyle but eventually realizes his worth as she falls for him. Finally, there’s Soumitra Chatterjee in a remarkable performance as Apu as this man coping with trying to find himself while dealing with new responsibilities in his life where he later endures loss and uncertainty.
Apur Sansar is a phenomenal film from Satyajit Ray. Featuring a great cast, gorgeous images, a riveting story, and Ravi Shankar’s incredible score. The film is truly an engrossing study into the world of adulthood as well as loss and identity as it is also a fitting conclusion to a great trilogy of films. In the end, Apur Sansar is a tremendous film from Satyajit Ray.
Satyajit Ray Films: Pather Panchali - Aparajito - (Parash Pathar) - The Music Room - Devi - (Teen Kanya) - (Rabindranath Tagore) - (Kanchenjungha) - (Abhijan) - The Big City - Charulata - (Two) - (Kapurush) - (Mahapurush) - Nayak - (Chiriyakhana) - (Goopy Gyne Bagha Byne) - (Aranyer Din Ratri) - (Pratidwandi) - (Sikkim) - (Seemabaddha) - (The Inner Eye) - (Ashani Sanket) - (Sonar Kella) - (Jana Aranya) - (Bala) - (Shatranj Ke Khilari) - (Joi Baba Felunath) - (Hirak Rajar Deshe) - (Pikoo) - (Sadgati) - (Ghare Baire) - (Sukumar Ray) - (Ganashatru) - (Shakha Proshakha) - (Agantuk)
© thevoid99 2016
