Even on the 97th birth anniversary of the legendary filmmaker Satyajit Ray, words are less to describe the legacy that he has left behind. He was the one who spearheaded an entirely new wave in the history of Indian cinema and literally guided it to the global amphitheater. The man who shaped such visionary and thought-provoking spectacular works has made the movie buffs bow down in front of his women characters. Let us cherish the memories of the women carved out by the cinematic legend:
Sarbajaya and Durga in Pather Panchali:
Ray’s debut women are based on Bibhutibushan Bandhopadhyay’s novel ‘Pather Panchali’ and it depicts the life of Apu and Durga. Ray had an equal investment in Sarbajaya’s character. She was an extraordinarily powerful character though outwardly conventional. A grief-stricken woman who was left alone hid her vulnerability and turns out dignified and resolute to keep up Apu’s dreams. Durga stood defensive, compassionate towards her bother and helped him overcome more than a few impediments in life but her character was never overshadowed by any other character in the film.
Teen Kanya:
The movie is based on the three female protagonists. Ratan, the housekeeper served her boss and finally, the emotion they exchange enfolds the life of common man. Monihara focusses on a greedy women craving for jewellery and materialistic belongings in her life. Samapti told the story of a teenage girl who was married off.
Charulata:
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Charu in ‘Charulata’ is based on Tagore’s novella ‘Nastanir’. Charu stood the archetype of many lonely wives in Bengal who apparently seems happy but profoundly struggling with the society levied loneliness. Ray invested a human-like greyness in her character especially when Charu refused to be the exemplary ‘trophy wife’ in the house. She voiced her loneliness, desires to the society on behalf of women till date.
Aparna in Aranyer Din Ratri:
‘Aranyer Din Ratri’ is based on Sunil Gangopadhyay’s Aranyer Din Ratri. Aparna in the movie is enviously calm and composed. But on the other hand, she is not afraid to experiment with her sexuality and dared to depart from the social norms.
Bimala in Ghare Baire:
The movie is adapted from Tagore’s Ghare Baire. Bimala here worshipped her husband and took pleasure being a modest and unpretentious housewife initially. But encouraged by her husband, she took part in the nationalist movement and fell for the Swadeshi leader Sandip. Finally, she returned to her husband but just a mere wife, not a devotee anymore.
Satyajit Ray, on the whole, was absolutely not a propagandist. He hardly felt like screaming to inculcate his thoughts in the mind of the viewers and the critics. His treatment towards his women characters with slight generosity has turned him into the master craftsman of the nation and worldwide.
