SAMAPTI is the most romantic film of Satyajit Ray IMHO. Based on a story by Rabindranath Tagore, this film shows the maturing of a childish mischevous girl into a woman.

This is the first pairing of Soumitra-Aparna later seen in many successful films from AKASH KUSUM, CHUTIR PANDEY, BASANTA BILAP to the relatively recent film PAROMITAR EKDIN.

Both Soumtro and Aparna act credibly. Though the humorous sequences doesn’t always evoke a laughter, but overall the small duration film succeed in delivering the central theme quite forcefully.


From Amartya Sen’s THE ARGUMENTATIVE INDIAN (Our Culture, Their Culture, Pg 124-125)

Words, too, have a function that goes well beyond the information they directly convey; much is communicated by the sound of the language and special choice of words to convey a meaning, or to create a particular effect. As Ray has noted, ‘in a sound film, words are expected to perform not only a narrative but a plastic function’, and ‘much will be missed unless one knows the language, and knows it well’.

Indeed even the narrative may be inescapably transformed because of language barriers, especially the difficulty of conveying nuance through tradition. I was reminded of Ray’s remark the other day, when I saw TEEN KANYA again, in Cambridge, Massachusetts,  where a festival of Satyajit Ray’s films (based on the wonderful reissues produced by the Merchant-Ivory enterprises) was being held. When obdurate Paglee – in the sparkling form of Aparna Sen – decide to write, at last, a letter to her spurned husband, she conveys her new sense of intimacy by addressing her in the familiar form ‘Tumi’ (as he has requested), rather than the formal and overly respectful ‘apni’. This could not, of course, be caught in the English subtitle. So the translation had to show her as signing the letter as ‘your wife’ (to convey here new sense of intimacy). But the Bengali original in which she still signs as ‘Paglee’ but addresses him in the familiar form ‘tumi’ is infinitely more subtle.

Rating: 3.8 out of 5


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