Remembering Two Golden Classics

‘Charulata’ by Satyajit Ray and Raj Kapoor’s ‘Sangam’ were released in the year 1964. As both films are celebrating Golden Jubilee this year, here is a look at these works of art

Both films are poles apart in content and treatment. Yet ‘Charulata’ and ‘Sangam’ are important films. These films redefined new post-independence Indian cinema. They brought in a paradigm shift. The euphoria of Independence was receding; it was a transition time for the Hindi film world too. ‘Art’ cinema was yet to sink in and ‘Commercial’ cinema was trying to face the new world. Indian filmmakers were looking for new story ideas and themes. Business-minded commercial film producers were churning out either family dramas or cheap copies of American action films. But serious filmmakers did give a thought to the content and medium itself. As a result, India and the world saw two major films from two prominent filmmakers in the post Indo-China war period.

By early 60’s Satyajit Ray was an established name in the world of Art cinema. His ‘Apu’ trilogy had won acclaims the world over and in 1964 Ray came out with a brilliant film –‘Charulata’, based on Rabindranath Tagore’s story. The film was re-rereleased in London in August. After venturing out in modern Calcutta (Mahanagar-1963) Ray returned to Colonial-and somewhat feudal-Calcutta with this film.

The story is set in 1879. Charulata is a wife of a progressive minded, upper class reformist Bhupati Dutta who has some political ambitions also and edits a weekly in English. Charulata (Madhabi Mukherjee) feels neglected and is leading a lonely life. Bhupati invites her elder brother and his wife to provide company to Charulata. Bhupati’s cousin Amal (Soumitra Chatterjee) also comes and stays with the now extended family. Amal is a modern and literary minded young man. He narrates stories, reads out poems to Charulata, they discuss various subjects. Slowly they become intimate. Meanwhile, her elder brother embezzles money and runs away. Amal also leaves. The couple reunites.

The film deals with human emotions. It is about people in higher echelons of the society. Ray unfolds nuances of human relationships in a poetic style. Though Charulata nourishes some feeling for Amal, (her brother-in-law); there is no hint that they cross the moral, social or ethical barrier. Their friendship turns intimate naturally. Bhupati is indeed engrossed in social and political events of the time; he is not neglecting his wife purposefully. The film is centred on Charulata, who is wealthy but unhappy and yet cannot complain.

Raj Kapoor’s reputation as a master filmmaker was long established. ‘Sangam’ gave him the recognition as a ‘showman’. Nearly every film lover of the time knows the story of three childhood friends, two boys and a girl. As they turn adults, an emotion called ‘love’ dawns upon them. Gopal (Rajendra Kumar) and Sunder (Raj Kapoor) love the same girl-Radha (Vyjayanthimala). Radha likes Gopal, but due to some twist of fate, she has to marry Sunder. Later, Sunder doubts her loyalty, which is proven with Gopal’s sacrifice.

If ‘Charulata’ is an example of high quality cinematic work of art, ‘Sangam’ is an out and out commercial film. One can say Raj Kapoor did reach the pinnacle of artistic creativity in ‘Shree 420’, and he turned to ‘business’ of cinema with ‘Sangam’. Charulata is a black and white film and ‘Sangam’ was the first colour film of his production house, ‘RK Films.’ He shot a major portion of the film in Europe, the first Hindi film to do so, and became a trendsetter.

‘Charulata’ is more subtle in the treatment of its subject; ‘Sangam’ plays to the gallery many a times. Here too Raj Kapoor sticks to his favourite theme of poor kid-rich kid. Sunder belongs to a lower class but eventually upgrades his financial and social class by becoming a pilot. He later wins the love of the woman of his desire. In a way, ‘Charulata’ also has a triangle, but in this case she is drawn to her brother-in-law, who shares love for literature and more importantly, shares time with her.

In ‘Sangam’ there are plenty of shots showing three protagonists at three different points in the frame, thus establishing a ‘triangle’. Raj Kapoor’s direction is gripping, though not subtle all through the film. The film tends to be melodramatic at times but, as it was proved by the box office success, people loved it. This film also marks RK’s shift from realism towards ‘spectacle’

‘Charulata’ is one of the finest creations of Ray. Characterisation is impeccable and true to life, yet it is a poignant tale. It is full of references from literature- Bengali and foreign, and also it refers to many leaders of the time, again both Indian and British. It is a study of human relationship and mind as well. Sets and costumes, under watchful eyes of Ray, enhance the authenticity of the period. Above all, the performances lift the film to new heights. Charulata observing people (stereotypes?) through opera glasses, is an iconic scene from the film. Madhabi Mukherjee and Soumitra Chatterjee have done full justice to their roles and bring characters to life. Some critics say that in the film, Ray’s style shows a little European influence, particularly last ‘freeze frame’ is said to have an imprint of Francois Truffaut. Of course, that does not reduce in any way the importance or greatness of ‘Charulata’.

‘Sangam’ too has its strong points, Music is one of them. “Dost dost na rahaa”, “Yeh mera prema patra padhkar”, “Bol Radha bol Sangam hoga ke nahin” and “O mere sanam” are masterly compositions beautifully sung, and thoughtfully picturised and songs and remain popular even today. Raj Kapoor also, cleverly, puts in a cabaret styled song “Kya karoon ram mujhe buddha mil gaya”.

Woman is a central character in both films but they are helpless and suffer silently. They cannot speak out their mind, can’t express their simple desires. In a way, both films portray a woman in an Indian family. Though both films are women centric, they could not start a trend as Indian cinema remained, by and large, hero or male-centric.

‘Charulata’ and ‘Sangam’ try to find an answer to the perennial question, what is happiness? Both films end with some optimism and reunion of the couple. ‘Charulata’ paved way for new generation of ‘parallel’ or artistic cinema in India. It can be termed as precursor to commercially viable yet meaningful films - a genre called as ‘Middle Cinema’. ‘Sangam’ started a wave of ‘love triangle’ and spectacle (many a times mindless) films. That is why ‘Charulata’ and ‘Sangam’ are important and influential films in Indian Cinema.