Satyajit Ray‘s <Mahanagar(The Big City)> isn't one of his greatest films. But that doesn't mean is a real turkey. Comparing <Mahanagar> with other his films (<Devi> and <Teen Kanya>, only I've watched), it looks just simple.
The story is, roughly speaking, about women's sense of achievement through their work during the era of the developing country. And also, is about irony like Satyajit Ray‘s other films.
Calcutta, mid 1950s. There is a big family: Subrata Mazumdar, his wife Arati, their young son, Subrata's younger sister, his father and his mother. Subrata, a bank employee, with his meagre income finds it difficult to provide for his large joint family. Arati is like an anchor holding the family together.
One day, Subrata talks about a couple where the woman too is going to work. Soon, Arati makes up her mind to take up a job to supplement the household income. With some help from Subrata, and opposition of her parents-in-law, she finds a job of selling sewing machines door-to-door.
Going out to work, Arati discovers a new life. She proves successful in her work and gains self-confidence. But Subrata feels insecure and resentful because his father too puts pressure on his son to force Arati to quit the job. So, Subrata asks Arati to quit.
The next morning, before Arati can give in her resignation, Subrata telephones her and asks her not to resign as he has lost his job. Now, Arati is the only earning member of the family. Subrata suffers as he watches his wife go out while he sits in bed and scans newspapers for jobs' columns.
It is very interesting because <Mahanagar> says a same story like 1960~70's Korean films. We have same stories like this. To overcome suffering and achieve success. Because of a familiar story, it looks like Korean movie in that era dubbed Hindi.
But why the title is "the Big City" instead of "The Big Family" or "Woman?" Satyajit Ray advances more. He suddenly talks about "meta-things." The rest of the story about <Mahanagar>: Arati has found a new friend in a colleague - Edith, an Anglo-Indian woman. But Her boss does not like Edith. Blinded by his prejudice, he accuses Edith of loose character and fires her. Arati asks her boss to apologize to Edith. He refuses and warns her about her own job. Arati hands over her old resignation letter and walks away. On her way out, she meets Subrata. After the initial shock, they reconcile and are close to each other once again. Arati ponders that in such a big city at least one of them is sure to find a job.
Well, I think this part is unnecessary. Satyajit Ray shows everything through the conflict with Subrata, his father and her wife Arati. We can presume his intention which he wants to talk. But this part (the end, the conclusion, and so whatever!) reveals all directly. Owing to it, movie turns to be simple. If not, <Mahanagar> would be the proud one in his carrier.
But I enjoyed this film, and I relieved Satyajit Ray's a just man to make a movie. I thought he was a genius or god of the cinema. This (tiny) failure shows Satyajit Ray's humanity - the ability to make mistake. <Mahanagar> is not stunning, but it's attracted to me since when I watched it.
*PS
Among his films I really like a firm attitude of female characters like following:
