There is seldom a foreign film, dealing with the theme of love, that does it as aptly as it did with this great masterpiece. The critics were right in describing the depth and extraordinary lengths the director went through in making this classic - not least of them the musical score, superbly composed by the great Ray himself - is commendable to say the least. In all frankness, critics, if not the audience in general, tends to placate that memorable "swing scene" as the greatest in this gemstone: particularly where, in an optical illusion that might as well put to shame the modern day "visual effects", Charu's eyes suddenly gleam, like a tigress, after peeping at (we are reminded of feminist film theory with regards to the "Gaze" with this) her cousin with her pair of lorgnettes, signifying how her romance kindles like a tigress'. But there are other scenes ‚" " indeed, EVERY scene in this classic, as can be seen from multiple viewings, has been made meticulously, painstakingly. It is Ray's own true greatness that he once said, in his own words, that he would make Charulata the exact same way as he did this, were he given the chance to re-direct it!