"Mahanagar": A Film Review

In the Bengali film 'Mahanagar' (meaning 'mega-city') completed in 1963, Satyajit Ray moves away from the stereotypical entertainment world to that of utmost and complete realism. Unlike other movies, the dual selves of each character with both bright and dark sides have been portrayed here.

In this perspective, we behold the gradual, evolutionary transition of the female protagonist, Arati, who, from an ordinary lower middle class Bengali woman becomes a full-fledged, a self-dependent lady with confidence and moral principles.

Moreover, the city of Kolkata fosters a cosmopolitan character of its own, with the contrast between its Bengali society and the Anglo-Indian one. The trams and the crowd are two remarkable features present here. Later, the couple gets merged there.

Among the other characters, Bhombal, Benu, the parents-in law, Edith and the old students are note-worthy. Each possesses a split personality, a combination of both sides of human character. With different twists, turns and contradictions, they have been depicted by Ray.

To mention its technical aspects, one must utter of the usage of natural lights, shades and sounds, symbolic of the mental status of the characters.

Madhabi Mukherjee, Anil Chatterjee, Jaya Bhaduri and others are perfect casts in the film.

Therefore, anyone should watch 'Mahanagar', which has attained a universal appeal.