The Big City

Plot

Arati, a traditional middle-class housewife in 1960s Calcutta, lives a comfortable life with her husband Subrata, their young son, and extended family including Subrata's father, sister, and unemployed brother. When Subrata suddenly loses his job at the bank, the family faces financial crisis, leading Arati to make the unprecedented decision to seek employment despite strong resistance from her conservative father-in-law. She secures a position as a door-to-door telephone salesperson, initially struggling but gradually becoming confident and successful in her new role. As Arati gains financial independence and self-respect, family dynamics shift dramatically, with her husband experiencing both pride and insecurity about his wife's success. The film reaches its climax when Arati stands up for her Anglo-Indian colleague Edith who is unfairly fired, leading to her resignation from the job but having discovered her own voice and dignity in the process.

Historical Background

'Mahanagar' was created during a pivotal period in Indian history, just 16 years after independence and during the early years of Prime Minister Jawaharlal Nehru's push for industrialization and modernization. The 1960s saw significant social change in urban India, with traditional family structures being challenged by economic necessities and emerging opportunities for women. The film reflected the growing tension between traditional values and modern aspirations in post-colonial India. Calcutta, then the capital of West Bengal, was undergoing massive urbanization and was a center of intellectual and political activity. The film's release coincided with India's second Five-Year Plan, which emphasized industrial development and created new employment opportunities in urban centers. The emergence of telephone companies and modern businesses depicted in the film represented India's technological advancement and integration into the global economy. The film also addressed the complex legacy of British colonialism through the character of Edith, representing the Anglo-Indian community that found itself caught between cultures in independent India.

Making Of

Satyajit Ray faced significant challenges making 'Mahanagar', particularly as his first color film. He had to learn color cinematography on the job, studying Technicolor processes and working closely with cinematographer Subrata Mitra to develop a color palette that would enhance the story without overwhelming it. The casting of Madhabi Mukherjee as Arati was a deliberate choice; Ray had worked with her before and believed she could embody the transformation from traditional housewife to independent working woman. The film was shot on location throughout Calcutta, which presented logistical challenges as Ray had to work around the city's daily life while maintaining production schedules. The telephone sales scenes required extensive research into actual sales techniques of the era, with Ray spending time observing real salespeople to ensure authenticity. The family home set was designed to reflect the cramped but respectable living conditions of middle-class Bengali families, with every prop and piece of furniture carefully selected to establish social status and character. Ray's attention to detail extended to the costumes, which showed Arati's gradual transformation through subtle changes in her wardrobe as she gained confidence and independence.

Visual Style

Subrata Mitra's cinematography in 'Mahanagar' marked a significant evolution in Ray's visual language, being his first collaboration in color. Mitra employed natural lighting techniques to create a realistic urban atmosphere, particularly in the outdoor sequences where Calcutta's streets become almost a character in themselves. The color palette was carefully chosen to reflect the emotional states of the characters - warm, domestic tones for the family home, and cooler, more professional colors for the workplace. Mitra pioneered the use of bounce lighting techniques in Indian cinema to achieve soft, natural lighting in interior scenes, particularly important for the many domestic sequences. The camera work often uses observational techniques, lingering on characters' faces to capture subtle emotional shifts. The famous scene where Arati first puts on makeup for work uses close-ups to show her transformation both physical and psychological. The street sequences employ a documentary-like realism, with handheld camera movements capturing the chaos and energy of Calcutta. The contrast between the cramped family home and the expansive city spaces visually reinforces Arati's journey from domestic confinement to public independence.

Innovations

As Ray's first color film, 'Mahanagar' represented a major technical achievement in Indian cinema. Ray and cinematographer Subrata Mitra developed new techniques for color grading that could withstand the challenging lighting conditions of Calcutta's streets. The film pioneered location sound recording in Indian cinema, using portable audio equipment to capture authentic urban sounds rather than relying on studio dubbing. The telephone sales sequences required innovative camera techniques to show both the salesperson and customer perspectives in confined spaces. Ray developed a new approach to editing that maintained the rhythm of Calcutta's daily life while advancing the narrative efficiently. The film's use of Eastman Color stock was groundbreaking for Indian independent cinema, as most color films at the time were produced by major studios with access to more expensive Technicolor processes. The production team created custom lighting rigs that could be easily moved through narrow Calcutta streets and apartment buildings. The film's success proved that high-quality color cinematography was achievable on modest budgets, influencing subsequent generations of Indian filmmakers.

Music

Satyajit Ray, who composed his own film scores, created a subtle and evocative soundtrack that enhanced the narrative without overwhelming it. The music prominently featured the sitar, tabla, and other traditional Indian instruments, but arranged in a contemporary style that reflected the film's modern setting. Ray composed a recurring motif for Arati's transformation, beginning with simple, traditional melodies that gradually become more complex and confident as she develops independence. The soundtrack included diegetic music, such as radio broadcasts and street musicians, which added to the urban authenticity. Notably, Ray used silence strategically, particularly in scenes of family tension, to emphasize the emotional weight of moments. The film's title music combines Western orchestral elements with Indian classical influences, symbolizing the cultural fusion at the heart of the story. The score was recorded with a small ensemble to maintain intimacy and avoid the bombastic quality typical of commercial Indian cinema of the era. Ray's background as a graphic artist influenced his approach to sound, treating it as another layer of visual storytelling that could convey emotional subtext.

Memorable Scenes

• Arati's first day at work: The scene where she nervously applies makeup and puts on her first professional sari, symbolizing her transformation from housewife to working woman. The camera focuses on her hands as they tremble while applying lipstick, capturing both her fear and determination.
• The telephone sales training: A sequence showing Arati learning to operate the demonstration telephone, initially fumbling but gradually gaining confidence. The scene uses close-ups to show her concentration and the sweat on her brow, emphasizing the difficulty of her new challenge.
• The family dinner argument: A tense scene where the father-in-law expresses his disapproval of Arati working, leading to a heated discussion about tradition versus necessity. The camera circles around the dining table, capturing each family member's reaction and the changing power dynamics.
• Arati's resignation: The climactic scene where she stands up for her colleague Edith and resigns from her job, demonstrating her moral courage and complete transformation. The scene is shot with her back to the camera initially, then turns to show her face filled with resolve and dignity.
• The final homecoming: The closing scene where Arati returns home after resigning, and her husband greets her with understanding and pride. The scene is lit with warm golden light, suggesting that despite losing her job, Arati has gained something more valuable - self-respect and her husband's complete support.

What Critics Said

Upon its release, 'Mahanagar' received widespread critical acclaim both in India and internationally. Indian critics praised Ray's masterful handling of a contemporary subject and his sensitive portrayal of changing family dynamics. The Times of India called it 'a milestone in Indian cinema' and particularly highlighted Madhabi Mukherjee's 'tour de force performance.' International critics were equally impressed; The New York Times' Bosley Crowther wrote that Ray 'has achieved a work of such warmth and humanity that it transcends cultural boundaries.' The film was praised for its subtle social commentary, avoiding polemics while making powerful statements about women's rights and class consciousness. French critic André Bazin considered it one of Ray's finest works, particularly noting his evolution as a filmmaker in his first color venture. Over the decades, the film's reputation has only grown, with modern critics considering it ahead of its time in its feminist themes and social commentary. The Criterion Collection included it in their list of essential world cinema, and it consistently appears in 'greatest films' lists compiled by prestigious film institutes and publications worldwide.

What Audiences Thought

The film resonated strongly with urban Indian audiences, particularly the middle-class viewers who saw their own struggles and aspirations reflected on screen. In Calcutta, where it was set, the film ran for extended periods in theaters and became a topic of discussion in intellectual circles. Many women viewers reported feeling empowered by Arati's journey, and the film sparked conversations about women's participation in the workforce. The conservative segment of society initially expressed some discomfort with the film's progressive themes, but these concerns were largely overshadowed by appreciation for its humanistic approach. International audiences embraced the film's universal themes, and it found particular success in art house cinemas in Europe and North America. Over the years, the film has developed a cult following among cinema enthusiasts and is frequently screened at film festivals and retrospectives dedicated to Satyajit Ray. Modern audiences continue to connect with the film's themes, finding relevance in its exploration of work-life balance and gender roles that remain pertinent today.

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