The Satyajit Ray Collection (Volume 2)

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Film Description

Satyajit Ray's artistic legacy is one of the most formidable in film history. Exceptionally versatile, his films covered almost every conceivable genre winning him nearly every major cinema award, including an Oscar for lifetime achievement. This collection features Kapurush (The Coward) (1965), Mahapurush (The Holy Man) (1965) and Joi Baba Felunath (1978).

Kapurush: Stranded in a small town, screenwriter Amitabha Roy is astonished to encounter a former lover who is now married to the owner of a tea plantation. Recalling his inability to commit to her and the relationship's resultant breakdown, Roy decides to make amends for the past.

Mahapurush: Ray's rarely-seen gem is a comedy-drama in which a gullible and religiously devout retiree is completely taken in by a bogus holy man and enlists the charlatan's help in finding his daughter a husband. But she is being courted by a young man who determines to expose the fraudster.

Joi Baba Felunath: Set in the holy city of Benares where Ray had shot Aparajito over 20 years previously, this adventure story adapted from Ray's own novel stars Soumitra Chatterjee as a detective investigating the theft of a priceless gold icon.

Film Information

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3 discs.

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Review by Andrew Robinson on 4th August 2008

A love story (Kapurush), a farce (Mahapurush), and a murder mystery (Joi Baba Felunath). What can they possibly share? - apart from the many-faceted creativity of their director Satyajit Ray, which included writing a highly successful series of detective novels (the basis for the last film). No doubt unintentionally, there is a common theme: human deceit and self-deception. These films, far from the lyricism and nobility of the Apu Trilogy, probe the murkier side of life: the cowardice of a romantic screenwriter faced by a woman’s passionate love, the cynicism of a fake holy man exploiting gullible disciples, and the family distrust provoked by greed for an antique heirloom. At the same time, each film was a new departure for Ray in setting. Kapurush takes place on a tea plantation; Mahapurush among the urban religious-minded; Joi Baba Felunath in sacred Benares (magically depicted at the beginning of Aparajito). Although none belongs in the first rank of Ray’s work, they all sparkle with deliciously ironic scenes, such as the holy man’s chant for evening prayer: ‘O Mores! OMnific! OMniscience! OMnibus! OMnivorous!’

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