[n2Oddw8P]

Thanks for the link to this Thilak.

Lovely interview. Thanks thamizharasan.

I am still under the sway of Charulata.

The characters and the relationships are brought out so well. The personal vocabulary - arguably the loveliest manifestation of a relationship is brought out with such great control. Charu calls Amal Thakurpo (b-i-l) but on multiple occasions calls him 'dhikkach babu' (does dhikkach mean 'clever?'). For instance in the swing scene (which has amazing frames) she calls him thakurpo and when he doesn't respond he calls him 'o dhikkach babu'. The 'nabina' versus traditional woman - classification they playfully talk to each other about.

Of writing
The emotions in the act of writing - sequence is just fantastic. There is condescension in 'encouraging' her to write. She is piqued by the 'betrayal' felt by her when Amal publishes his work. he didn't take his promise to her seriously precisely because he thinks little of her judgement and fails to understand what the promise of the writing remaining in the embroidered notebook, meant to her. The coldness and frenzy of her writing is just marvellously well brought out. What is the point she has proven? Her 'worth' to Amal? What is her tragedy? That he has been such a blockhead that she had to go through such a 'demonstration'? What does her refusal to write mean? (As in feminisaum, role of nabina-wise: "talends are there to command but why would I need to if 'my man' knows me" seems the point to me). Amal is thoroughly shaken by her writing. He is totally confused about her reaction about publication. He's not had the realization yet...only later (after Bhupathi is betrayed by Umapada). And remember his PS in the letter: Charu should keep writing. How innocent and yet, within the vocabulary that only they two know, how strong a rejection. One can imagine Charu going livid.

Measured Catfight
The competing for attention that Charu's sil is awesome. She rejects her favorite kulfi when it comes only second hand. Charu and she cross swords ever so subtly, samosas, pan flinging (I know him better), Charu showing who's the boss (getting the laundry herself). She has a self-admitted non-nabini and makes no bones about it. Charu is judgemental of her (card game, where she rejects it's a no-brainer and then proudly 'wins' even that game). Such traditional poignance (that I am quite a sucker for) is her parting line to Amol where she says she'd like to see the magazine: 'even if I cannot read (and make sense) of your essay, I can atleast read your name'. How lovely!

Bhupathi
Bhupathi could have easily been caricatured but he is shown as a man of life and blood. Yes, with his won obsessions, but still a real man. His childlike trust of Umapada. Giving responsibility to a disinterested man!! The scene with the paper-merchant. He is mildly judgemental of Charu's Bonkim romance fascinations. But at the same time is truly 'each to his own'. The harshest thing he can summon himself to say (to Amol) is: "(political) suffering is real. Not this Romeo and Juliet stories" His inadequacies, his misgivings are things he is open about. "I was hurt" he plainly tells Charu about learning about her publication at the party only. When she slyly guilt-trips him he is quick to take the blame for that too. In the penultimate beach scene he struggles to say pleasantries to his wife: "perhaps it would be easier if I read Bonkim". What a thing to say! He does not say that with a cynical superiority, but with a earnest warmth, that he has to make his effort to relate to Charu.

And in his childlike enthusiasm he is taken by Charu's idea and moves to: "People talk about the roar of the waves, there is nothing as sweet as the sound of a printing press".

The words (Sentinel - fallen soldier in a play), the impromptu alliterations (Burdwan, Britain, Bristol, then back to Bengal and Bonkim babu) that so easily flow in their conversations was excellent.

Cinematography
The cinematography I guess would've been written by many periyavAs. The swing scene (no steadycam then, how did they do?) is awesome. The one with Amol in the foreground and Charu swinging the length of Amal is so memorable. The piano song has Amol executing small hops and looking at Charu and the camera hops!! The diagonal moves in the stage of indoor action make for wonderful scenes.A simple simple frame, just by lowering it by a few inches is made to include the bed railings in the frame. So when it moves across there is a heightened pace in the visual. idhellAm set property-ai paathu dhaanE yOsikkavE mudiyin

The scene where they return from the beach holiday. The letter is in focus slowly, the actors are in the fringe. We are uneasy about the frame as it is slowly and slowly excludes them more and more (what 'natural' dialogues in that scene, she is concerned about the homecoming, Bhupathi is already concerned about the 'new start')

I don't think I have had this satisfactory a movie experience in a loooong time.
Must sink my teeth into this man from now