The use of close-ups and deep focus two shots reminded me of moments from *Citizen Kane*. A solid melodramatic film.

#341

There was something about this that didn't do it for me. I couldn't get into the pacing, and the structure of the narrative was annoying while still semi-intriguing in a way.

This is a good film with some great moments and scenes, but it's patchy. The acting is very uneven, there's some very iffy use of sound-effects that seemed wholly inappropriate, and it's not exactly subtle.

416

# 379

Ghatak lays on the melodrama thick, and in less able hands this could've become soap opera fare, but the movie sets itself apart thanks to Ghatak's many unconventional stylistic choices. He uses unusual editing, as well as unusual use of light, music and camera moves, to great effect. In addition to the more idiosyncratic stuff the movie is full of beautiful compositions and standalone shots. The acting could've been better, but the characterizations were strong enough for me to ignore it.

Absolutely brilliant. It's a harsh melodrama but the skilled direction keeps it from feeling too forced or over the top. Filled with unrelenting social commentary it spares no one in its criticism of the consequences of social and familial pressures. The acting and visuals are very good and have some moments of real greatness. My only complaint, the father character, who should have played a key role is so badly acted that he's merely a sideshow with a few great lines, but it has minimal impact.

400

Like many of Ray's films, Meghe Dhaka Tara is a simple domestic melodrama: Nita is a young woman who sacrifices and suffers as her family continues to exploit her... and they often hold her in contempt for allowing them to do it to her. Although the film lacks much of the splendor that make Ray's work so magnificent, there are some elegant touches. The opening shot, of Nita approaching against a background of sweeping, majestic trees, is one of the most glorious sights I've ever seen.