He has a relatively short perspectival horizon and is addicted to gambling. Shekhar (Rabi Ghosh) tries to make up for his diminutive stature and other inadequacies by playing the clown.Something of a narcissist, he can be quickly resentful when things don’t go his way. He often tries to get his own way by instinctive physical aggression. Hari (Samit Bhanja) is an athlete and less reflective than the others.Thus he has the longest perspectival horizon of the four. He has to think things over carefully before he acts. He is inherently a rationalist and a worrier. Sanjoy (Subhendu Chatterjee), like Ashim, is well educated and civilized, but he is also more cautious.But his ambitious nature pushes him to sometimes emulate those above him and to assume the role of a poseur. Ashim (played by Satyajit Ray favorite Soumitra Chatterjee) is the most successful and self-confident of the four.Each is trying to find his own path in the competitive world of social interaction. The four young bachelors in Days and Nights in the Forest are all distinct but are believable characters and are probably recognizable from your own experience. In this connection we could say that Days and Nights in the Forest is a precursor to what came to be referred to as Ray’s “Calcutta Trilogy” – The Adversary ( Pratidwandi, 1970), Company Limited ( Seemabaddha, 1971), and The Middleman ( Jana Aranya, 1976). In fact this combination of existential self-expression within the Indian social context was something that Ray was moving into at this stage of his career. Here in Days and Nights in the Forest, we have four individually different young men, each seeking his own identity within a desired social harmony, a fascinating topic in any context, but particularly so in contemporary Calcutta, which was going through dramatic upheaval in those days. This is a narrative style more akin to that of Scorsese’s Mean Streets (1973), and Ray had earlier employed it in his Kanchenjungha (1962). In fact the film is, instead of a buddy film, more of an ensemble film, with intertwining narrative threads associated with each of the four male principals. People want just one theme, which they can hold in their hands." And the film is about so many things, that's the trouble.
"People in India kept saying: What is it about, where is the story, the theme?. But those familiar with Satyajit Ray probably knew there would be more to the film, and that was definitely the case, even if the average Indian moviegoer wasn’t ready for it. And some Indian viewers were probably expecting the film to stay on that key.
Crash fever tier list fever button locked movie#
This movie about four yuppie bachelors off on a slumming vacation in a rural region starts out looking like a good old comic buddy film, with stereotypical characters and wacky hijinks. The contrasting responses to the film stem from differing expectations on the part of filmgoers. But enthusiastic reviews from international critics soon followed, and the film is now considered one of Ray’s finest works. Satyajit Ray’s Days and Nights in the Forest ( Aranyer Din Ratri, 1970) was not a hit in India at the box office when it was first released.
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