Mary Poppins Returns
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All Critics (21)
| Top Critics (4)
| Fresh (19)
| Rotten (2)
Ray's style is direct, realist and sympathetic.
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.
Ray has an unmatched feeling for the moments when a situation catches people unawares, and minds perceptibly expand or contract when confronted with some infinitesimal stress.
...a full-blown exercise in mid-century film feminism.
Lyrical Ozu-like family drama.
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.
[font=Century Gothic]In "Mahanagar," Subrata(Anil Chatterjee) is a bank manager but cannot afford to support his extended family which includes his aging parents(Haren Chatterjee & Sefalika Devi). His father is a former university professor who is envious of his former students' success while lacking eyeglasses which could help him win the crossword competition. Subrata is so desperate that he contradicts his conservative principles to suggest his wife, Arati(Madhabi Mukherjee), get a job, at least until he can get a second job himself...[/font]
[font=Century Gothic]While "Mahanagar" is slow at times, it more than makes up for it with some classic moments, excellent character development and insights into the Indian society of the time the film was made. What writer-director Satyajit Ray is specifically interested in is pointing out that whereas once ethnicity was the ruling principle, it has now been superseded by class. For example, a woman of English descent is in the same boat as Arati, as they work together and bond over their jobs selling knitting machines to wealthy families. In a society as status obsessed as this, Subrata feels that men should be able to support their families without asking for help. But there are times when pride gives way in the face of economic realities. [/font]
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