They arrive at a little village in the state of Bihar. Not having made any arrangements for their stay, they come across a rest house. The four young men are full of the over-confidence of the big city and scant respect for the rural villagers. The group is led by Asim Soumitra Chatterjee , the richest of the four. Sanjoy Subhendu Chatterjee is a timid person who always plays it safe.

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ADR is a beautiful chamber piece from a director who does this sort of thing very well. The opening sequence shows a motley quartet going on a holiday road trip to a forested area.

The neat and shy Sunjoy is a conventional pen-pusher tied to the mores of middle-class existence. Hari, a cricketer is short tempered and impulsive, while an unemployed Shekhar is the joker of the group.

They halt en route at a vacant government guest house, where they intend to spend a few days. The film chronicles this interval, giving us an insight into the character of these men and the interaction they have with other people, often provoking them into reflection or change.

These scenes are presented with a wholly observant attitude, never persuading the audience to either like or dislike the characters. Things take a big turn when they run into a couple of charming ladies living at a nearby bungalow. Invited by the surprisingly trustful and hospitable patriarch of the house, they meet the lovely enigmatic Aparna Sharmila Tagore and her cheerful but widowed sister-in-law Jaya.

This part of the film is a beautiful study of the mental processes of male-female relationships in modern society: The rituals of socially acceptable cordial behavior mixed with the low-key sensuality and courtship that occurs at the outset of growing acquaintance with the opposite sex.

Both Aparna and Jaya are warm-natured, confident and sophisticated women, and one well identifies with the sense of yearning mixed with hesitation that develops within the men when they interact with them. In the while Hari gets passionately involved with a young tribal woman, Duli Simi Garewal, of all people.

The last phase of the film is when their interactions have proceeded just beyond the preliminary stage. Ashim learns enough about Aparna for him to regard her as more than one of the city women he meets at so many parties, and observes aspects of her nature that lead him to feel guilt for his superficial self-oriented thinking. But this is not to say that the film ends on a dark note not at all. Life for our characters goes on and who knows what the future will bring? But you need to see a film like this to appreciate really how intricate and touchingly fragile the whole ritual can be, and how the anticipation of the man-woman relationship relates to and affects the existing behavior and thought process of the persons involved.

It takes the deftness of touch of a Ray to show it to us in this light. But on the whole ADR is a terrific movie of its type, leisurely but always focused, personal but never self-indulgent. Was this review helpful? Sign in to vote. Four friends - all young men from Calcutta- go into a forest and plan to stay in a rest house there, while aspiring to have sexual fun with tribal women who are presumed to be liberal in such matters. Of course, this sort of plot is not standard territory for the said director but even with this unlikely template, Ray directs his masterly rays of perspective to illumine the hinterlands and give larger wings to a fledgling premise.

Though it is not set in the city or even a village, the film is a composite shot of civilization in decline. R we also see a beautiful example of strong but tranquil feminism.

This latter aspect emerges in the form of Sharmila Tagore who registers a great performance in this movie. Kohl-lined beautifully curving eyes, luxuriant hair coiffed into a bouffant, and a softly contoured figure clothed in sari ,all set off a face that can essay feminine mystique as smoothly as it can show child-like amusement. Aparna Tagore , it is steadily revealed, is gifted intellectually, bears the weight of the past, nurtures a humane mind and yet sequesters all these facets beneath a regally controlled visage that can hint at displeasure as beautifully as it can sport a smile.

Technically too, this is an accomplished film with superior camera-work by Soumendu Roy. There is a famous static shot in which the lens stands just outside the car window and looks inside, through the car compartment, and past the other window into the background -4 visual planes hold four different people ,all sporting a range of interesting expressions and emotional dynamics. The other memorable sequence is the Memory Game wherein all the players are seated in a circle, and the lens flicks from one face to another as they play the game.

Starting with this script, countless other story-tellers might have produced a work of dissipated effect, but Satyajit Ray makes fine use of the novel by Sunil Gangopadhyay to present not just a sylvan jaunt enjoyed by four young men, but also an elegantly presented humanist tapestry.



Plot[ edit ] The plot of the movie goes back to a similar outing the writer Sunil Gangopadhyay took in the early days of his poetic career. The story unfolds around a group of four friends, quite unlike each other and yet bonded together deeply. 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.


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