Mahanagar (The Big City) (The Great City) (1967)
Average Rating: 8.1/10
Reviews Counted: 19
Fresh: 17 | Rotten: 2
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Average Rating: N/A
Critic Reviews: 4
Fresh: 3 | Rotten: 1
Average Rating: 4.1/5
User Ratings: 722
Satyajit Ray, India's premiere film director, takes a rare foray into social satire with 1963's The Big City. Anil Chaterjee stars as the typically subjugated wife of an Indian bank official. When the banker loses his job, he orders Anil to find work to make ends meet. The wife subsequently runs the household finances so brilliantly that soon she is in the driver's seat, in direct opposition to long-established Indian matrimonial custom. Seen by some critics as a subtle plea for improving the
Jun 29, 1967 Wide
Jan 1, 2004
Edward Harrison/Sony Pictures Classics
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There is nothing obscure or over-stylized about this characteristic work by Mr. Ray. It is another of his beautifully fashioned and emotionally balanced contemplations of change in the thinking, the customs and the manners of the Indian middle-class.
One of the most rewarding screen experiences of our time. I warmly encourage you to see it.
There are so many ways in which Ray is entitled to demand respect that I felt absolutely naughty wanting something to happen quickly.
a complex, but ultimately generous depiction of humanity trying to navigate the uncertainties of a changing world
Ray was known for his historical tales, but lost absolutely nothing with the shift to contemporary urban life.
Mostly, The Big City is impressive for how Ray makes his observations about Arati's lot in life without saying anything directly.
Ray's Calcutta is a bustling Dickensian city of disappointment and hope, of new possibilities and old temptations, of entrepreneurs seizing opportunities in a changing society ...
A bustling urban drama about the conflicts of work, gender and money, richly believable in the details and fascinating in its social vision.
An utterly absorbing and moving drama about the changing worlds of work and home in 1950s India, and a hymn to uxorious love acted with lightness, intelligence and wit.
Funny, entirely relatable and beautifully shot slice of 1950s Calcutta life that centres around the dynamics of a middle-class family and the changing values of the time.
Incredibly rich and satisfying. Would easily stand up to multiple viewings.
Ray draws from Mukherjee a performance of delectable subtlety as she comes to recognise her moral and financial independence.
Beautiful and restrained, Madhabi Mukherjee powerfully highlights ... as a traditional Bengali housewife who transforms into a modern working woman in 1960's Calcutta
Interesting portrait of family life in India where a feminist is as rare as a quagga.
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