Charulata: Die einsame Frau

Originaltitel: Charulata

1964
16
1 Std. 57 Min.

IMDb-BEWERTUNG

IHRE BEWERTUNG

Füge eine Handlung in deiner Sprache hinzuThe lonely wife of a newspaper editor falls in love with her visiting cousin-in-law, who shares her love for literature.The lonely wife of a newspaper editor falls in love with her visiting cousin-in-law, who shares her love for literature.The lonely wife of a newspaper editor falls in love with her visiting cousin-in-law, who shares her love for literature.

Regie
- Satyajit Ray
Drehbuch
- Rabindranath Tagore
- Satyajit Ray
Hauptbesetzung

Siehe Produktionsinformationen bei IMDbPro

IMDb-BEWERTUNG

8,1/10

7441

IHRE BEWERTUNG

Regie
- Satyajit Ray
Drehbuch
- Rabindranath Tagore
- Satyajit Ray
Hauptbesetzung

Siehe Produktionsinformationen bei IMDbPro

Auszeichnungen
- 8 Gewinne & 2 Nominierungen insgesamt

Wissenswertes
Ray once called Charulata his favorite of his own films.

Patzer
when Bhupati shows Amal his weekly newspaper 'The Sentinel', it can be seen that it is published every Saturday and the date shown is 7 April 1879 but actually 7 April 1879 was Monday.

Zitate
Amal: All done with studies, exams, professors, cutting classes.
Charulata: What's left? Foolishness and mischief?
Amal: Poetry. Rhythm. You know, I was thinking.
Charulata: What?
Amal: All of life is like a rhythm. Birth, death. Day - night. Happiness - sorrow. Meeting - parting. Like the waves on the ocean, now rising - now falling. One complements the other.

Alternative Versionen
There is an Italian edition of this film on DVD (Extra Movie in "IL LAMENTO SUL SENTIERO"), re-edited with the contribution of film historian Riccardo Cusin. This version is also available for streaming on some platforms.

Verbindungen
Featured in Schräge Vögel (2017)

Soundtracks
God Save The Queen
(uncredited)
Music by Thomas Augustine Arne
Played on the Piano by Amol (Kumar Basu)

Benutzerrezensionen43

Rezension

Ausgewählte Rezension

8/10

A lullaby of a film

Satyajit Ray is so good at staging his scenes from inside the minds of his characters, and I think it is why he was so successful at crossing over to foreign audiences - his empathy for the people behind his characters. He always reached to get beyond the simple exchange of dialog - watching a Ray film is watching him carefully invade the mind of his creations. Their flaws, their desires, their loves all seem so universal coming from his camera.

The photography is one of the greatest joys of Charulata, as in most of his films - the camera feels so free, so unbound to any set formula or rule of how to operate it, the joy of the operator (Ray himself) so apparent. It glides throughout all of his films, playing the eyes of some omniscient presence the characters are sometimes semi aware of. We are jolted when they look into the camera and sing, but because we have been already lulled into his world it feels completely natural that they would sing to us.

Charulata is slower, more obtuse than some of Ray's earlier films, and it feels longer. I was underwhelmed by the story, which I felt took too many left turns. But Charulata is a persistently fascinating film, particularly the almost out-of-body performance by Soumitra Chatterjee.