Film Analysis: Charulata

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Charulata, one of Ray’s most admired films, inhabits a significant historical background that unfolds to problematise the presupposed role of the contemporary Indian woman. Based on Tagore’s novel, the film is set in 19th century Bengal on the threshold of change and is one of Ray’s attempts to chart female subjectivity at a time when Bengali society and culture was in a state of flux between modernity and tradition.
In Charulata, Ray seems to suggest that the Bengali Renaissance was essentially a bourgeois male fantasy backed by wealth, lofty ideals and self-indulgence. It was male-centric and lacking in practical wisdom and it became a victim of its own high minded idealism. The high liberal rhetoric of these men was a borrowed voice from the west which had no real connection with the actual realities of the day. Most of them could not even keep their own house in order. Bhupati Nath Dutta, Charulata’s husband, the self-proclaimed liberal social reformer, is portrayed as being so lost in himself that he unknowingly neglects his wife who remains in seclusion within the “andarmahal” or inner sanctum of the house. Bhupati, in his western clothes, spouts the new liberal rhetoric but he hardly notices Charu’s bid to break out of her role as a 19th century housewife. Thus, Ray shows that the neo-liberalism which these Bengali Renaissance men insisted was in substance only a facade trying to conceal the same old power and gender structures. Although Bhupati instructs Amal, his cousin, to look after Charu’s education and creative writing, his overall attitude reveals that Charu’s creative gifts are hardly of much importance in the larger social context. Bhupati’s neo-liberal political and socialist stance is thus revealed to be much nar...

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... gaze through her opera glasses signify immediate empowerment for her, they later prove to be inadequate to grant Charu actual female emancipation and agency. The film, however, is not exactly centred around the question as to whether she can ever achieve her liberation but it stresses on the right to her awakening and self-liberation. Whether Charu can ever come out of the confines of the Prabina and negotiate with the terms of the Nabina is ultimately left unanswered at the end. The famous last scene which Ray confesses was influenced by the ending of Truffaut’s Les Quatre Cents Coups—Charu and Bhupati’s hands coming together and yet never meeting—signifies not only the uncertainty in the husband-wife relationship, but also shows that the transition from the Prabina to the Nabina is never complete and is always tinged with a sense of ambiguity and incompleteness.

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