NAYAK1

The year 1965-66 is an interesting phase for Bengali cinema in terms of experimentation with the medium. Mrinal Sen’s AKASH KUSUM (1965), Tapan Sinha’s GALPO HALEO SATTI (1966) and Satyajit Ray’s NAYAK (1966) showcases the penchant of these titans to incorporate new devices into the narrative. In this Ray work, one sees use of surrealism in abundant measure – the scene of the actor (Uttam Kumar) drowning in a pile of money or the sequence of the seductive actress (Anjana Bhowmick) haunting the actor among others …

NAYAK

There is also a commonality of NAYAK with the much later film PRAKTAN (2016), exactly fifty years after the first was made, in that both these films are based entirely on a rail travel.

The film narrates the compromises an actor has to make to scale heights of popularity and the regimentation binding him to keep it going. Just see the sequence where the actor’s friend (Premansu Bose) takes him to address a group of agitating workers in his company to provide a morale booster and the actor doesn’t accede to the request of his good friend.

The aspect of the mega-star with a feet of clay also found echo in Hrishikesh Mukherjee’s GUDDI (1971)..

Rating: 3.9 out of 5

 

 

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