Having familiarized myself with Ray through his poverty films, it's a bit of a shock to find him directing a domestic melodrama about rich people - but he's no less up to the task, and Charulata is every bit as elegantly handled as any of the films of the Apu trilogy. I feel like I would appreciate this more with another viewing - aside from some of the political aspects leaving me in the dark, it admittedly felt tedious in spots. But it's impossible not to appreciate Ray's enormous skill.

Many great adjectives have been used to describe this movie. Delicate, elegant, nuanced, graceful, subtle. Charulata is definitely all of these. This type of film - where facial expressions and precise camera shots speak louder than any narration or dialog ever could - is something we don't see enough of. I can tell without a doubt that this will be a film I will grow to appreciate more and more each time I see it.

"A singularly accomplished song to love, idealism, heartbreak and disillusionment." - Jay Antani

319

Despite a few really corny scenes this was a great film. Subtle in the best way possible with a lot of sexual tension and betrayal. Again with Ray I found the subtitles to be irrelevant, such a humanist movie that you knew what they were saying just by the actions.

#339

fantastic, it may not have my favorite soundtrack of ray's movies necessarily but i feel like the use of the soundtrack is the best of his that i've seen

Just not my thing. Incredibly bored from start to finish... maybe I was in the wrong mood.

My first Ray film, and what an introduction. If the Apu trilogy is even as half as good as this (and I'm being told it's better), then I really can't wait. I have to be honest that there are some British-Indian and colonial political overtones that must have flown over my head, but human relationships are universal.

A modernist take on an extra-marital affair. Undoubtedly daring for its time and in possession of its share of universal themes. Inspired camerawork too.

What a wonderful film from top to bottom. The acting is wonderful, the camerawork is subdued but masterful and the mix of drama with a somewhat light air works wonderfully. The romance, the focus on personal growth and the political subtext both tie in well to make for a very interesting meditation on freedom and duty.

A great romantic melodrama with an intriguingly ambiguous ending. I felt that some of the political undertones were lost on me, but the themes of loyalty and marital strife are powerful, and handled with Ray's usual delicacy and elegance. Beautifully shot with some really wonderful camera glides, and truly captivating performances.

In some ways I prefer this to something like Pather Panchali. A very beautiful, subtle, elegant and rhythmic movie.

# 318

Ray outdid himself here. He has managed to create a more fleshed-out, detailed drama than his usual, but which still feels airy and spacious the way he likes it. He paints a truly powerful picture but with the gentlest of strokes, really grabs you but with utmost subtlety, patience and delicacy. The acting, cinematography and music are all excellent. A masterful film.

324

Charulata is an extremely elegant film - the gentle camerawork and gorgeous cinematography, the lyricism and wonderful use of music that makes the film feel so alive, the fantastic understated performances. Ray treats the characters with a tender, humanist touch allowing them to grow and develop before us, lending them our sympathy and always treating them with a sense of dignity: characters are never turned in to the story's playthings. It is a beautiful, wonderful film.

Charulata is remarkably subtle and gracious, the camera work is smooth as silk, the acting might be even better than usual for Ray, and the end is deliciously ambiguous. It's not quite one of my favorites by Ray, however, but to be honest I'm not exactly sure why.