Let me divide the discussion on the film into a few parts BACKGROUND AND ANECDOTES Ray had wanted to make a film out of this Tagore story for a long time, right from the 1960s but somehow the project kept getting delayed. Initially, Ray had casted Soumitra Chatterjee as Nikhil and wanted a young débutante to play the role of Sandip but later, in an example of inspired casting, he cast Soumitra as Sandip instead as he felt there was no one who could give the long, verbose speeches in chaste Bengali better than Soumitra (and Soumitra delivers as usual with a flawless performance but we'll come to that later). Victor Banerjee, who had earlier worked with Ray in Shatranj and Pikoo, made the grade as Nikhil THE PUBLIC OPINION ON THE FILM Even though Ghare Baire remains a strong Ray film, it does not enjoy the universal critical appreciation of the Apu Trilogy, Charulata, Aranyer Din Ratri, Kanchenjunga, Kapurush, Pikoo, Jalsaghar, Devi, Teen Kanya, Asani Sanket, etc. NOR does it enjoy the mass popularity of Goopi Gayen Bagha Bayen, Sonar Kella, Joi Baba Felunath, Abhijaan etc. It remains somewhat underrated and under discussed amongst all Ray's films- even more so than Ray's last 3 films (Ghanashatru, Shakha Proshakha and Agantuk) which even though weaker films by Ray's unusually lofty standards were at least much more accessible to the public being more recent THE FILM ****Mild spoilers ahead***** Ghare Baire is set in pre- Independence India and tells the story of a traditional but educated Bengali woman- married to a wealthy, liberal, westernized Zamindar of a Bengali village. Her daily sojourns are confined to the inner part of the house as a strange but true custom for married women in those days. Is it then just a coincidence that her state of living is also an allegory to India in those times- wanting to win freedom from its past. Hoewver, truth be told, her husband loves her and she's under no apparent stress due to her lifestyle and seems to have accepted it and thriving in it. Nikhil, her husband, is a calm, composed, pro feminist and liberal man who supports her wife's decision to learn English Classical music from a British Lady (an interesting cameo by Jeniffer Kendall whom we know as Violet Stoneham from 36 Chowringhee Lane). In their peaceful lives, enters a revolutionary named Sandip. Dark, brooding, idealist; Sandip was an old college friend of Nikhil and is now, the leader of the 'Swadeshi' movement or the 'Be Indian Buy Indian' movement and wants to extend his movement in Nikhil's village but Nikhil, being a pragmatic man, cannot allow this to happen because that would take away the livelihoods of many poor hawkers (paricularly Muslim) who get foreign made things CHEAPER than Indian substitutes and hence stand to lose their margins if forced to buy Indian raw materials for selling in the 'haat' (a village market) Another layer to this 'external' story is its 'internal' aspect that comprises Nikhil, Sandip and Bimala. Nikhil is the man of the world, Sandip represents an illusive Utopia as he is a die hard idealist and Bimala plays the woman who's torn between the two extremes- The Home (Nikhil) and the World (Sandip), Ghare and Baire. Smitten by Sandip's fiery speeches and his vision of an independent India as contrasted with her own husband Nikhil's ostensibly indifferent attitude to the freedom struggle, Bimala finds herself increasingly drawn to Sandip. Does Nikhil know or does he simply trust his wife too much and is a bit of an idealist himself? And does Sandip actually love Bimala or is he only using her as a tool to weaken Nikhil and subsequently, persuade Nikhil to let the Swadeshi movement enter his village and also to take her financial help to continue his movement? And what about Bimala? Then, when chaos erupts in the village due to the battle between the revolutionaries and the establishment, Sandip has to leave and Bimala's dreams are shattered as reality strikes. Then the small things become more apparent to her- like how Sandip always traveled by first class, how he always smoked imported cigarettes even though he was a proponent of Swadeshi himself. Then she remembers what Nikhil's first words to her about Sandip almost as a warning- "That man is better to look at from a distance". Isn't that true about mirages and ideals too? Aren't they too accompanied later by a sense of disillusionment? AFTERMATH Ultimately, 'Ghare Baire' is an extremely complex but rich story of idealism Vs. pragmatism that extends the concept to not only a Home i.e. a Bengali household (through the love triangle) but also to the World i.e. India during those times of strife and struggle (through the depiction of the revolution and the Swadeshi movement). In both cases, in the end, we did get freedom, but at what cost? Doesn't Nikhil's unfortunate death represent the millions of lives that were lost in our Freedom struggle and doesn't Sandip's escape represent the euphoria that quickly deserted us, just as we became independent Ray's mastery is evident behind every frame- Victor's monologue during dinner one night, Soumitra's several soul stirring speeches during the film and the wonderful cinematography (the last scene of Bimala morphing from a married woman to a widow is just awesome beyond words), Ghare Baire would represent the end of a phase in Ray's career as he suffered a heart attack while filming this and subsequently his output became less prolific (He only completed 3 more films and a telefilm in his last eight years). Also, this was the beginning of a change of style- from the ersthwile outdoor locations (Apu, Kanchenjunga, Aranyer Din Ratri, etc.) to the primarily 'set- driven' later films. 8/10 for me
13 Reviews
Freedom Vs. Fortitude, Idealism Vs. Pragmatism, Lover Vs. Husband, Home Vs. The World
kunalsen_768415 August 2007
Warning: Spoilers
Love in the days of patriotism
smrana9377-831-37163012 December 2010
Warning: Spoilers
The story is set in the first decade of the previous century. Bengal is to be partitioned into two states, a Hindu Bengal and a Muslim Bengal. Lord Curzon is the current Viceroy.The freedom movement is in it's nascent state and is being spearheaded by the upper class intelligentsia. British goods flood the market. There is a move on the part of the rebels to boycott imported goods.This on the other hand is likely to hit the poor since imported goods are cheaper and of better quality.
The complex social and political situation is narrated by Ray through the medium of a bold and torrid love triangle triangle, bold for the year when the movie was released, bolder for the milieu in which the film is set and even by present standards of Indian cinema. The level of intimacy depicted is perhaps unprecedented in Indian cinema, since kissing on-screen still is likely to shock sections of the audience.
India is a confluence of civilizations and Ray is an individual who embraces contradictory multiplicities. One of the opening images is of Bimala (played by Swatilekha Chatterjee), traditionally cloistered wife of the aristocrat Nikhil (Victor Banerjee), as she is tutored in Western vocal music by her teacher (Jennifer Kendall). Nikhil decides to liberate her from the traditional role of housewife and introduces her to ex college mate and firebrand freedom fighter Sandip (Soumitra Chatterjee), who is currently campaigning for Swadeshi, or the boycott of foreign manufactured goods. Ray clearly aims to portray the shallowness which underlies much revolutionary fervor. This is particularly evident in the ritualistic greeting of the Swadeshi-ists, which is artificial and comic. Bimala is completely infatuated with Sandip, till events disclose the duplicity and self serving motives which underlie his chest thumping patriotism.
The film is not up to Ray's best. This is perhaps due to it's complexity and scope of ambition. Ray is not one to distort for the sake of simplification. He seeks here to portray some still continuing realities of India's multi religious and multi cultural society through the microcosm of a family living through a turbulent period of nascent nationalism. This is just before the appearance of Gandhi, when the serious business of confronting colonialism really started. Certainly cannot be missed.
The complex social and political situation is narrated by Ray through the medium of a bold and torrid love triangle triangle, bold for the year when the movie was released, bolder for the milieu in which the film is set and even by present standards of Indian cinema. The level of intimacy depicted is perhaps unprecedented in Indian cinema, since kissing on-screen still is likely to shock sections of the audience.
India is a confluence of civilizations and Ray is an individual who embraces contradictory multiplicities. One of the opening images is of Bimala (played by Swatilekha Chatterjee), traditionally cloistered wife of the aristocrat Nikhil (Victor Banerjee), as she is tutored in Western vocal music by her teacher (Jennifer Kendall). Nikhil decides to liberate her from the traditional role of housewife and introduces her to ex college mate and firebrand freedom fighter Sandip (Soumitra Chatterjee), who is currently campaigning for Swadeshi, or the boycott of foreign manufactured goods. Ray clearly aims to portray the shallowness which underlies much revolutionary fervor. This is particularly evident in the ritualistic greeting of the Swadeshi-ists, which is artificial and comic. Bimala is completely infatuated with Sandip, till events disclose the duplicity and self serving motives which underlie his chest thumping patriotism.
The film is not up to Ray's best. This is perhaps due to it's complexity and scope of ambition. Ray is not one to distort for the sake of simplification. He seeks here to portray some still continuing realities of India's multi religious and multi cultural society through the microcosm of a family living through a turbulent period of nascent nationalism. This is just before the appearance of Gandhi, when the serious business of confronting colonialism really started. Certainly cannot be missed.
Confounding Ideologies.
saoodwajeedshaikh23 March 2022
'Ghare Baire' contemporarily known as 'The Home And The World' by Satyajit Ray is an adaptation of Rabindranath Tagore's novel of the same name. It is an allegory of sorts, which primarily revolves around the lives of Bimala, Nikhil and Sandip, in the backdrop of the Indian Swadeshi Movement in Bengal.
Bimala is married to Nikhil an opulent Bengali Landlord. Bimala was brought up to be the quintessential wife, who confines herself to her quarters in the Mansion, whose life revolves around her Husband's. She herself has no true existence of her own apart from being a wife to her husband. However, Nikhil, Bimala's husband is a man of modern ideals, who educates her wife, brings her out of her confinement and introduces her to the world and to Sandip. Sandip is the leader of the local Swadeshi movement who coaxes Bimala to take up his cause.
Sandip and Nikhil, despite being friends since college, are Men poles apart in Ideologies. Nikhil is a man of gentle disposition, who tends to concern himself more with the abstract than the material. He is obsequious to his virtues and morals, almost pedantic. Despite this austere way of life, he is a Liberal at heart and believes Bimala is free to make her own choices. He is a man always in scruples to do right by others, sometimes at his own expense. He intuits that the Swadeshi movement would create a social rift and doesn't support the cause despite Sandip's multiple attempts to persuade him.
Sandip on the other hand is a charming, promiscuous man. He is a confident, eloquent orator and a man of action. He doesn't concern himself with morality as long as he succeeds. He believes Men who accept their own despondency as destiny are weak men. If a man desires something he should persist to achieve it without having any scruples in regards to morality or the means involved.
When Nikhil introduces Bimala to Sandip, he opens up the world to her. But none could comprehend its consequences. When cajoled by Sandip, she agrees to take up his Swadeshi cause. She is now torn to choose between two Men of confounding ideologies. 'Ghare Baire' is the story of these consequences, the frailty of relations, and the the social rift so created by the Swadeshi movement in Bengal.
Satyajit Ray employs an ensemble cast including 'Victor Banerjee' as Nikhil, 'Soumitra Chatterjee' as Sandip and 'Swatilekha Sengupta' as Bimala. Along with them, Jennifer Kendal portrays Miss Gilby. The movie may seem slow paced to the viewer with long elaborate scenes and dialogues. However, Ray deftly dwells deep into the psyche and interrelationships of the protagonists and with the other characters such as Amulya and Nikhil's sister-in-law. Swatilekha Sengupta does a brilliant job in portraying Bimala's troubled tumultuous state of mind. And so do the other protagonists.
I was fortunate enough to have read Tagore's novel prior to watching the movie. Tagore's novel is considered, to some extent, to portray his own personal views on the Indian Swadeshi Movement. On reading more about Tagore one realises that he moulded Nikhil's character in his own light and through Nikhil he puts forth his political views.
Ray does his best to bring to life this vivid personal work, but, in my opinion, fails to completely do justice to Tagore's genius. This movie may not be Ray's best work, but it surely is one that stays on your mind and forces you to ponder. If that doesn't constitute art, then I don't know what does.
A Review by - Mohammed Saood.
Bimala is married to Nikhil an opulent Bengali Landlord. Bimala was brought up to be the quintessential wife, who confines herself to her quarters in the Mansion, whose life revolves around her Husband's. She herself has no true existence of her own apart from being a wife to her husband. However, Nikhil, Bimala's husband is a man of modern ideals, who educates her wife, brings her out of her confinement and introduces her to the world and to Sandip. Sandip is the leader of the local Swadeshi movement who coaxes Bimala to take up his cause.
Sandip and Nikhil, despite being friends since college, are Men poles apart in Ideologies. Nikhil is a man of gentle disposition, who tends to concern himself more with the abstract than the material. He is obsequious to his virtues and morals, almost pedantic. Despite this austere way of life, he is a Liberal at heart and believes Bimala is free to make her own choices. He is a man always in scruples to do right by others, sometimes at his own expense. He intuits that the Swadeshi movement would create a social rift and doesn't support the cause despite Sandip's multiple attempts to persuade him.
Sandip on the other hand is a charming, promiscuous man. He is a confident, eloquent orator and a man of action. He doesn't concern himself with morality as long as he succeeds. He believes Men who accept their own despondency as destiny are weak men. If a man desires something he should persist to achieve it without having any scruples in regards to morality or the means involved.
When Nikhil introduces Bimala to Sandip, he opens up the world to her. But none could comprehend its consequences. When cajoled by Sandip, she agrees to take up his Swadeshi cause. She is now torn to choose between two Men of confounding ideologies. 'Ghare Baire' is the story of these consequences, the frailty of relations, and the the social rift so created by the Swadeshi movement in Bengal.
Satyajit Ray employs an ensemble cast including 'Victor Banerjee' as Nikhil, 'Soumitra Chatterjee' as Sandip and 'Swatilekha Sengupta' as Bimala. Along with them, Jennifer Kendal portrays Miss Gilby. The movie may seem slow paced to the viewer with long elaborate scenes and dialogues. However, Ray deftly dwells deep into the psyche and interrelationships of the protagonists and with the other characters such as Amulya and Nikhil's sister-in-law. Swatilekha Sengupta does a brilliant job in portraying Bimala's troubled tumultuous state of mind. And so do the other protagonists.
I was fortunate enough to have read Tagore's novel prior to watching the movie. Tagore's novel is considered, to some extent, to portray his own personal views on the Indian Swadeshi Movement. On reading more about Tagore one realises that he moulded Nikhil's character in his own light and through Nikhil he puts forth his political views.
Ray does his best to bring to life this vivid personal work, but, in my opinion, fails to completely do justice to Tagore's genius. This movie may not be Ray's best work, but it surely is one that stays on your mind and forces you to ponder. If that doesn't constitute art, then I don't know what does.
A Review by - Mohammed Saood.
A beautiful, morally complex, moving evocation of a woman's dilemmas of love and politics in 1907 India.
samdiener13 September 2002
The Home and The World is an excellent film by the great Bengali director Satyajit Ray. Based on a novel by Tagore, the drama focuses on the personal and political dilemmas faced by a wealthy Bengali woman in 1907 as her husband and his best friend vie for her affection and her political loyalties.
Very few films successfully focus on the ethical complexities of social movement organizing (The Official Story, Matewan, and Mapantsula are rare exceptions; The Way We Were has some brilliant flashes along these lines, but then veers away from these themes all too quickly). We, the viewers, are initially drawn to the viewpoint of the charismatic political organizer, just as the protagonist is drawn to him and out of the restraints of traditional purdah. Far from painting the husband as a vile monster to revolt against, however, the husband encourages the increasing independence of the protagonist, and becomes the loving conscience of the film, even as it exposes the limitations of his apparent passivity.
As the attraction between the protagonist and the organizer mounts, so does the tempo and the tension of the political struggles in the village. As the protagonist learns more and more about the world beyond the secluded part of her palatial home, we, the viewers, begin to understand more and more the complexity of the cross-cutting tensions between: England and India, modernism and tradition, Hindu and Muslim, rich and poor, men and women, leadership and rabble-rousing, means and ends, and love and infatuation.
All this could have been ponderous or didactic, but it's decidedly not, and one of the wonders of the film is that the political issues are woven so deftly into the story of a believable unfolding love triangle. Most movies have a difficult time portraying any motivation for two characters to `fall' in love - this movie manages to portray changes in the relationships between all three main characters with such precision and intensity that I fully believed, and cared deeply, about each one.
The acting is extraordinary, and the cinematography, as is usual in Ray's films, is breathtaking, subtly accentuating the movie's themes of liberation and loss, and the interplay between the two.
Ray said his goal as a director was the same as Renoir's, to show that everyone has their reasons. As perhaps the most warmly compassionate of directors in all of world cinema, he succeeds brilliantly with this film.
Very few films successfully focus on the ethical complexities of social movement organizing (The Official Story, Matewan, and Mapantsula are rare exceptions; The Way We Were has some brilliant flashes along these lines, but then veers away from these themes all too quickly). We, the viewers, are initially drawn to the viewpoint of the charismatic political organizer, just as the protagonist is drawn to him and out of the restraints of traditional purdah. Far from painting the husband as a vile monster to revolt against, however, the husband encourages the increasing independence of the protagonist, and becomes the loving conscience of the film, even as it exposes the limitations of his apparent passivity.
As the attraction between the protagonist and the organizer mounts, so does the tempo and the tension of the political struggles in the village. As the protagonist learns more and more about the world beyond the secluded part of her palatial home, we, the viewers, begin to understand more and more the complexity of the cross-cutting tensions between: England and India, modernism and tradition, Hindu and Muslim, rich and poor, men and women, leadership and rabble-rousing, means and ends, and love and infatuation.
All this could have been ponderous or didactic, but it's decidedly not, and one of the wonders of the film is that the political issues are woven so deftly into the story of a believable unfolding love triangle. Most movies have a difficult time portraying any motivation for two characters to `fall' in love - this movie manages to portray changes in the relationships between all three main characters with such precision and intensity that I fully believed, and cared deeply, about each one.
The acting is extraordinary, and the cinematography, as is usual in Ray's films, is breathtaking, subtly accentuating the movie's themes of liberation and loss, and the interplay between the two.
Ray said his goal as a director was the same as Renoir's, to show that everyone has their reasons. As perhaps the most warmly compassionate of directors in all of world cinema, he succeeds brilliantly with this film.
A Breathtaking Story about a Woman's (mis)understanding of Love and Politics
Chrysanthepop12 August 2007
One doesn't expect anything other than excellence from the legendary Ray's work and 'Ghare Baire' (Home and the World) follows the same path. 'Based on the Nobel prize winner, Ranbindronath Tagore's novel, it focuses on the relationship of a woman with her husband and his best friend. Almost 10 years into her marriage, she is happy with her husband but craves for something more. Unlike many women of the time, her husband gives her complete freedom allowing her to live her life the way she wills. He himself is impressed by the British lifestyle and his his wife learn English. He's also very connected to his own Bengali route. Then enters his revolutionary and stubborn friend who is obsessed of having the country get rid of everything English. The husband and his friend have contradictory viewpoints. Yet, he welcomes his friend and never objects to his motivations, as long as he's within his limits. The wife is impressed and intrigued by his friend's political ambitions and is gradually drawn towards him (or he draws her towards him) until they embark in an affair and then the truth becomes more apparent...to everyone, but it's too late.
Ray really takes his time to tell us the story, to let us get to know the characters and clearly display the relationships between them and explain the political situation. He does one hell of a job doing it. He shows the development of the wife's 'relationship' with the friend as her marriage becomes weaker while her husband is hauntingly passive yet trying to understand both his wife and his friend as he is the one who truly loves her and he tries to carry out his social obligations towards his people. We see that the wife learns more about the political dilemmas in the outside world but only from the friend's point of view. Then, as one reviewer, has pointed we are drawn into a web of dilemma's between England and India, modernism and tradition, Hindu and Muslim, rich and poor, men and women, leadership and rabble-rousing, greed and sacrifice, means and ends and love and infatuation.
Master filmmaker that he is, Ray puts it all together in one of the most remarkable way that it does not deviate from the main plot. Ther performances are superb. Victor Bannerjee gives a very intense but subtle performance. In the end, one realizes that it is his character one feels most for. Contrastingly, though Soumitra Chatterjee is more vocal, he makes full use of his nonverbal language, hinting the character's deceitful intentions. Swatilekha Chatterjee plays a very difficult part with tremendous ease. She completely owns the role. Supporting cast are all very good. Ray also makes adequate use of the background score and the cinematography is wonderful. Watch for the camera angles and movement.
Truly a mind-blowing film and I always thought that there aren't enough words that can do justice to describe the excellence of Ray's films. I've only made an attempt and I'm still far behind. Just watch it to see what I mean. Only those who appreciate real cinema will understand.
Ray really takes his time to tell us the story, to let us get to know the characters and clearly display the relationships between them and explain the political situation. He does one hell of a job doing it. He shows the development of the wife's 'relationship' with the friend as her marriage becomes weaker while her husband is hauntingly passive yet trying to understand both his wife and his friend as he is the one who truly loves her and he tries to carry out his social obligations towards his people. We see that the wife learns more about the political dilemmas in the outside world but only from the friend's point of view. Then, as one reviewer, has pointed we are drawn into a web of dilemma's between England and India, modernism and tradition, Hindu and Muslim, rich and poor, men and women, leadership and rabble-rousing, greed and sacrifice, means and ends and love and infatuation.
Master filmmaker that he is, Ray puts it all together in one of the most remarkable way that it does not deviate from the main plot. Ther performances are superb. Victor Bannerjee gives a very intense but subtle performance. In the end, one realizes that it is his character one feels most for. Contrastingly, though Soumitra Chatterjee is more vocal, he makes full use of his nonverbal language, hinting the character's deceitful intentions. Swatilekha Chatterjee plays a very difficult part with tremendous ease. She completely owns the role. Supporting cast are all very good. Ray also makes adequate use of the background score and the cinematography is wonderful. Watch for the camera angles and movement.
Truly a mind-blowing film and I always thought that there aren't enough words that can do justice to describe the excellence of Ray's films. I've only made an attempt and I'm still far behind. Just watch it to see what I mean. Only those who appreciate real cinema will understand.
A masterpiece!
debgangulian14 July 2020
I have literally no words to describe this film! Throughout the film, I felt that I was transported back to the early 20th century and watching the events unfold in front of my eyes.
Bimala, the wife of a Bengali zamindar/gentry is the main protagonist of the film. Her conflicts, her transformations (no spoilers) are the main events occuring in the film. To enjoy the flavour of the film, I would suggest you to watch the film from the POV of her.
The film illustrates the two sides of the Swadeshi movement. One group felt that Swadeshi movement was unrealistic and the poor would be hard hit. Another group, the utopian one, felt that Swadeshi would bring freedom to India.
Bimala, the wife of a Bengali zamindar/gentry is the main protagonist of the film. Her conflicts, her transformations (no spoilers) are the main events occuring in the film. To enjoy the flavour of the film, I would suggest you to watch the film from the POV of her.
The film illustrates the two sides of the Swadeshi movement. One group felt that Swadeshi movement was unrealistic and the poor would be hard hit. Another group, the utopian one, felt that Swadeshi would bring freedom to India.
a decent film about Indian history and culture
planktonrules25 March 2006
Warning: Spoilers
This film begins with a happily married Hindu couple. The husband is college educated and rich. His wife is very traditional and her entire world is the inside of her home. However, the husband pushes her to learn English and about the outside world and she reluctantly agrees. Later, an old college pal arrives. He is the head of a nationalistic "buy Indian" movement. While this husband is not entirely in agreement with the movement, he lets his wife learn more about this movement and its leader. She quickly falls under this stranger's spell and begins actively supporting him by selling her jewels to give the movement money. However laudable the cause seemed to be, over time it resulted in widespread persecution of the poor Muslims and as a result, Muslim reprisals. The once peaceful land is now in chaos and the wife finally realizes her new "knight in shining armor" is in fact, self-serving and unconcerned with the ensuing chaos! The stranger leaves town--leaving the very decent husband to try to restore order.
While I found this movie historically interesting, there were a couple elements that left me a bit cold. First, the wife falling in love with the stranger seemed way too quick and difficult to believe--plus, I would have thought her husband would have said something sooner considering this man so often met with the wife alone. Second, the movie itself was also a bit cold and didn't hook me emotionally. A similar type of movie about the Muslim-Hindu violence decades later (when the country finally gained its independence) was EARTH, but it really managed to strike a much more emotional cord. So, in all, a decent and interesting film but not great.
While I found this movie historically interesting, there were a couple elements that left me a bit cold. First, the wife falling in love with the stranger seemed way too quick and difficult to believe--plus, I would have thought her husband would have said something sooner considering this man so often met with the wife alone. Second, the movie itself was also a bit cold and didn't hook me emotionally. A similar type of movie about the Muslim-Hindu violence decades later (when the country finally gained its independence) was EARTH, but it really managed to strike a much more emotional cord. So, in all, a decent and interesting film but not great.
Ghare Baire .. A Movie way ahead of its times
raju-476814 April 2016
The movie is played with a flashback, with a womans voice over. She is describing her life and her experiences. She is Bimala, the wife of Nikhilesh, a landlord and ruler of an area in West Bengal. She was married to him at a very early age. Bimala recollects how her husband helped her discover her true self, her dreams , aspirations and how she came to understand the meaning of life and love.
Nikhilesh(Victor Bannerjee , in a class act) , is Rajababu of a province. His people look upto him , and he is benevolent in his demeanour with them. He marries Bimala , but due to the prevalent child marriage traditions , there is a significant age gap between the two. Nikhilesh encourages his wife to explore a life beyond the mundane. He treats her as an equal rather than a submissive partner. Bimala takes English lessons (Jennifer Kendal Kapoor in a cameo) on Nikhilesh's insistence. Gradually as Nikhilesh encourages her to expand her horizons, she becomes more confident. Then enters Sandeep , a revolutionary and Nikhilesh's good friend. Sandeep and Nikhilesh are contrasting personalities. Nikhilesh is silent to Sandeep's vitriolic temperament. Sandeep talks of high ideals, while Nikhilesh thinks about the ground realities. A wonderful sequence where Sandeep is advocating boycott of English goods, while Nikhilesh differs , saying that the poor traders would be affected the most, not so much the English Saab. Bimala is swayed by Sandeep's idealistic words and admires him. Nikhilesh notices the same, when she doesn't take sides, but doesn't comment. Gradually the chemistry between Bimala and Sandeep increases, and while Nikhilesh is aware of it, he defends his silence to Bimala by saying that how will he come to know how much she values him, unless she does not compare his positives and negatives with anyone else. Suddenly a series of incidents show Bimala, a side of Sandeep , that she had not envisioned. During the course of these events she realises the true meaning of Nikhilesh's words to her , and during 'that' heated discussion which he and Sandeep had. While Nikhilesh is hurt by the change in Bimala's behaviour ,he says not a word. Slowly Bimala comes to know that the love respect admiration that she had read in books, was actually Nikhilesh's feelings towards her. How, he treated her as his equal (which in those days was unheard of), broadened her outlook towards life as a whole. Nikhilesh has a heart to heart talk with Bimala ,and drives out to face a riot in the village, while the law catches up with Sandeep. Bimala is left to reminisce all the events, it sums up the movie.
Nikhilesh(Victor Bannerjee , in a class act) , is Rajababu of a province. His people look upto him , and he is benevolent in his demeanour with them. He marries Bimala , but due to the prevalent child marriage traditions , there is a significant age gap between the two. Nikhilesh encourages his wife to explore a life beyond the mundane. He treats her as an equal rather than a submissive partner. Bimala takes English lessons (Jennifer Kendal Kapoor in a cameo) on Nikhilesh's insistence. Gradually as Nikhilesh encourages her to expand her horizons, she becomes more confident. Then enters Sandeep , a revolutionary and Nikhilesh's good friend. Sandeep and Nikhilesh are contrasting personalities. Nikhilesh is silent to Sandeep's vitriolic temperament. Sandeep talks of high ideals, while Nikhilesh thinks about the ground realities. A wonderful sequence where Sandeep is advocating boycott of English goods, while Nikhilesh differs , saying that the poor traders would be affected the most, not so much the English Saab. Bimala is swayed by Sandeep's idealistic words and admires him. Nikhilesh notices the same, when she doesn't take sides, but doesn't comment. Gradually the chemistry between Bimala and Sandeep increases, and while Nikhilesh is aware of it, he defends his silence to Bimala by saying that how will he come to know how much she values him, unless she does not compare his positives and negatives with anyone else. Suddenly a series of incidents show Bimala, a side of Sandeep , that she had not envisioned. During the course of these events she realises the true meaning of Nikhilesh's words to her , and during 'that' heated discussion which he and Sandeep had. While Nikhilesh is hurt by the change in Bimala's behaviour ,he says not a word. Slowly Bimala comes to know that the love respect admiration that she had read in books, was actually Nikhilesh's feelings towards her. How, he treated her as his equal (which in those days was unheard of), broadened her outlook towards life as a whole. Nikhilesh has a heart to heart talk with Bimala ,and drives out to face a riot in the village, while the law catches up with Sandeep. Bimala is left to reminisce all the events, it sums up the movie.
"The great Kishore Kumar gave his voice"
smkbsws16 September 2020
Here is one more film made our of the work of Tagore. The great Kishore Kumar gave his voice for a song in this film. The worst script adapted by Ray I think. It always bugged me how the entire story was converted to a play and the film was made plainly out of it. The story it interesting though - it shows how the 'boycott British product' movement in early 1900s impacted poor people in our country.
Study the Great Indian Debate: Gandhi vs Tagore
pritambanerjee99916 August 2020
Read about the great Indian debate between Gandhi and Tagore before watching this movie.
You can see Gandhi in the character of Sandip and Tagore in the character of Nikhil.
Now watch this movie. An absolute masterpiece
A Mind-blowing Satyajit Ray Classic that could have been the FILM OF THE DECADE if that one over-intellectual stance which was 100 years ahead hadn't misfit in it.
SAMTHEBESTEST22 April 2021
Warning: Spoilers
Ghare Baire / To The Home and The World (1984) :
Brief Review -
A Mind-blowing Satyajit Ray Classic that could have been the FILM OF THE DECADE if that one over-intellectual stance which was 100 years ahead hadn't misfit in it. With this film i am not gonna talk about Acting, Screenplay, Cinematography and Direction because i feel these fields are commonly judged and commonly handled by the artists in every film. I would like to talk about the story because it has stunned me like before and may possibly be never after. What stuns and what is missed is very very important for every movie buff and i expect some genius film lovers to understand what i am trying to say. Ghare Baire is sensational piece of writing. It is highly intellectual and very intelligent writing and it goes on to goes on touch that Red mark which it shouldn't have and then it would have easily became THE FILM OF THE DECADE and i see no other film anywhere close to it. Nikhilesh, an educated and highly intellectual guy marries simple girl Bimala. After 10 years of marriage he grants full freedom to his wife and asks her to meet and find another man assuming that she didn't have a choice at the time of their marriage when she was a little girl. He introduces her to his friend, Sandip, a passionate and active man who is a contradiction to the peace-loving and somewhat passive to Nikhilesh. Sandip easily attracts the innocent and unsuspecting Bimala, creating a love triangle. Although Nikhilesh figures out what is happening, he is a mature person and grants Bimala the freedom to grow and choose what she wants. At last Bimala comfronts true Colors of Sandip and realises that it was his Husband Nikhilesh who truly loved her. Now here, it was a golden chance to deliver possibly the greatest climax for any love triangle by simply making Bimala regret her own misdeeds and Nikhilesh leaving her for the disloyalty. But instead we see Nikhilesh accepting her as if nothing happened and he looks like nothing but a foolish cuckold. I would have loved to see him freeing Bimala to let her repent for lifetime but instead we see Bimala dedicating her pain and everything in the memory of the man (Nikhilesh) who accepted all her failings in the depths of his Stricken heart. That's the exact quote. This high level intellectualism is very hard to accept in today's time and especially when you know that the story takes place in early 19th century. It was way ahead of time. Numerically, 100 or 200 years maybe. But still i would say it was against the ethics and loyalty and that's the only reason why Ghare Baire couldn't became the Film Of The Decade. Remember Ray's Masterpiece Charulata (1964) and how it ends with those freezed frames and leaves us with that burn? Imagine the husband accepting her wife after knowing her affair. Not done, right? That's what Ghare Baire missed. I am feeling to so sorry for the makers that they attempted such a mind-blowing idea and failed to achieve the superlative tag just by just 1 or 2 Inches. Anyways, Ghare Baire is still a Classic and that's more than enough to recommend it. But you know such concepts are hardly attempted by filmmakers and then you feel bad that it couldn't hit the highest bar because maybe we will never see someone attempting such a staggering content. A Must See.
RATING - 8/10*
By - #samthebestest.
A Mind-blowing Satyajit Ray Classic that could have been the FILM OF THE DECADE if that one over-intellectual stance which was 100 years ahead hadn't misfit in it. With this film i am not gonna talk about Acting, Screenplay, Cinematography and Direction because i feel these fields are commonly judged and commonly handled by the artists in every film. I would like to talk about the story because it has stunned me like before and may possibly be never after. What stuns and what is missed is very very important for every movie buff and i expect some genius film lovers to understand what i am trying to say. Ghare Baire is sensational piece of writing. It is highly intellectual and very intelligent writing and it goes on to goes on touch that Red mark which it shouldn't have and then it would have easily became THE FILM OF THE DECADE and i see no other film anywhere close to it. Nikhilesh, an educated and highly intellectual guy marries simple girl Bimala. After 10 years of marriage he grants full freedom to his wife and asks her to meet and find another man assuming that she didn't have a choice at the time of their marriage when she was a little girl. He introduces her to his friend, Sandip, a passionate and active man who is a contradiction to the peace-loving and somewhat passive to Nikhilesh. Sandip easily attracts the innocent and unsuspecting Bimala, creating a love triangle. Although Nikhilesh figures out what is happening, he is a mature person and grants Bimala the freedom to grow and choose what she wants. At last Bimala comfronts true Colors of Sandip and realises that it was his Husband Nikhilesh who truly loved her. Now here, it was a golden chance to deliver possibly the greatest climax for any love triangle by simply making Bimala regret her own misdeeds and Nikhilesh leaving her for the disloyalty. But instead we see Nikhilesh accepting her as if nothing happened and he looks like nothing but a foolish cuckold. I would have loved to see him freeing Bimala to let her repent for lifetime but instead we see Bimala dedicating her pain and everything in the memory of the man (Nikhilesh) who accepted all her failings in the depths of his Stricken heart. That's the exact quote. This high level intellectualism is very hard to accept in today's time and especially when you know that the story takes place in early 19th century. It was way ahead of time. Numerically, 100 or 200 years maybe. But still i would say it was against the ethics and loyalty and that's the only reason why Ghare Baire couldn't became the Film Of The Decade. Remember Ray's Masterpiece Charulata (1964) and how it ends with those freezed frames and leaves us with that burn? Imagine the husband accepting her wife after knowing her affair. Not done, right? That's what Ghare Baire missed. I am feeling to so sorry for the makers that they attempted such a mind-blowing idea and failed to achieve the superlative tag just by just 1 or 2 Inches. Anyways, Ghare Baire is still a Classic and that's more than enough to recommend it. But you know such concepts are hardly attempted by filmmakers and then you feel bad that it couldn't hit the highest bar because maybe we will never see someone attempting such a staggering content. A Must See.
RATING - 8/10*
By - #samthebestest.
When Britannia waived the rules
tieman645 December 2014
"Dear me, I had no conception that the lower classes had such white skins." - Lord Curzon
Set in the early 1900s, Satyajit Ray's "The Home and the World" features the recollections of Bimala Cloudhury (Swatilekha Chatterjee), the wife of Nikhilesh (Victor Banerjee), a wealthy Bengal merchant. As her spouse encourages her to adopt Western attitudes, Bimala begins to drift away from traditional social and religious values.
By "Home's" second act, it becomes clear that Nikhilesh idolises India's British rulers, who, under the leadership of Lord Curzon, have begun partitioning the Muslim and Hindu populations of Bengal. Ironically, Nikhilesh's desires for Bimala to be "reeducated" have the opposite effect; she's drawn toward a leader of the Swadeshi, a nationalist movement. Indeed, Bimala becomes the movement's first female member.
"Home" thus sketches an India in which forces have begun pulling in opposing directions. Throughout the film, traditional values vie with liberated modernism. This "modernism", ironically, is introduced via the "primitive" hand of British Imperialism, which is itself opposed by an Indian Nationalism whose progressivism not only masks reactionary elements, but points to the eventual disharmony between Hindus and Muslims.
Slow, subtle, and set almost entirely indoors, "The Home and the World" heavily resembles the works of Luchuno Visconti. Like Visconti at his best, Ray's film portrays a society on the cusp of transformation. Bimala's plight, torn between two men, itself echoes the upheaval's of her nation.
8/10 – See "North West Frontier".
Set in the early 1900s, Satyajit Ray's "The Home and the World" features the recollections of Bimala Cloudhury (Swatilekha Chatterjee), the wife of Nikhilesh (Victor Banerjee), a wealthy Bengal merchant. As her spouse encourages her to adopt Western attitudes, Bimala begins to drift away from traditional social and religious values.
By "Home's" second act, it becomes clear that Nikhilesh idolises India's British rulers, who, under the leadership of Lord Curzon, have begun partitioning the Muslim and Hindu populations of Bengal. Ironically, Nikhilesh's desires for Bimala to be "reeducated" have the opposite effect; she's drawn toward a leader of the Swadeshi, a nationalist movement. Indeed, Bimala becomes the movement's first female member.
"Home" thus sketches an India in which forces have begun pulling in opposing directions. Throughout the film, traditional values vie with liberated modernism. This "modernism", ironically, is introduced via the "primitive" hand of British Imperialism, which is itself opposed by an Indian Nationalism whose progressivism not only masks reactionary elements, but points to the eventual disharmony between Hindus and Muslims.
Slow, subtle, and set almost entirely indoors, "The Home and the World" heavily resembles the works of Luchuno Visconti. Like Visconti at his best, Ray's film portrays a society on the cusp of transformation. Bimala's plight, torn between two men, itself echoes the upheaval's of her nation.
8/10 – See "North West Frontier".
The Home & The World Film Reviewed
jsbarhok2 May 2024
"The Home & The World" ( 1984) is based on a novel written by Rabindranath Tagore. It is a simple story of two friends, their friendship & love. Victor Bannerjee plays Nikhilesh, the maharaja while his friend's role is done by Soumitra Chatterjee who was former's class mate. The latter joins the maharaja to promote his political career. Maharaj's wife Bimala Chaudhury( Swatilekha Sengupta) develops a liking for him owing to his persuasive & impressive language. They get amorously involved. The story is reminiscent of Ray's earlier film made way back in 1964 titled " Charulata" featuring Soumitra Chatterjee, Syamal Ghosal, & Madhabi Mukherjee. Many things were common in both films. Both were based on stories by Rabindranath Tagore, the Noble laureate. Both films revolves round a childless married woman who falls for a persuasive speaking visitor, Saumitra Chatterjee ,while her husband watches the scene from the side lines as a passive spectators. In the later film the woman ,who was earlier confined to her 'palace chamber', gets an opportunity to meet the visitor & supports his 'swadeshi movement', too, despite her husband's disapproval. She even steals gold coins from the safe to lend a supporting hand .The film was made on a lavish canvass & it is very difficult to present each aspect or scene here. However, I tried to part with reasonably good information to readers. Interestingly, in both the films the woman returns to her husband .
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