Rosy Samad gets married and goes on a honeymoon trip with her husband from the village where they live to a nearby village. However, she is discovered, without her husband, and no idea of what has happened. This disgraces her, and she spends the next ten years in exile, next to the village. Then a madman turns up, and she attempts to gain redemption by curing him of his madness.
You'd think that after a lifetime of reading fantasy and studying the anthropology of magic, this would be catnip to me. However, fantasy as it is written tends to have an almost engineering quality to its construction, with things like quests that must be undertaken, or great monsters that must be fought, or princesses that must be rescued. The patterns are too familiar. Likewise, the magic in these things is constructed like machinery. Occasionally you run across things based on Greek mythology, where the gods are squabbling people taking one side or the other, and throwing thunderbolts or sending earthquakes.
But to look at this movie is to see a society that is barely above animism, the belief that everything has a soul, whether it is a human or a cat, or a tree, or a rock. And the only way someone like me can handle a worldview like that is in a mechanical fashion. There is no mystery, just ignorance, and a rock falls from your hand to the ground when you release it regardless. But the characters in this movie believe in the mystery. The river Titas may just go away, or Miss Samad may just be fooling herself. No one knows anything, and no one can know anything. It's not a worldview I can believe, and so I am reduced to seeing if the movie is internally consistent.... but that won't work either, because if it's not, then that is also a mystery, an insoluble one that is a fact of existence.
It makes my head spin. Ritwik Ghatak's movie tells a tale of a small fishing village where reality and legend are the same thing. Is it a good telling? My Western mind can't really tell.
You'd think that after a lifetime of reading fantasy and studying the anthropology of magic, this would be catnip to me. However, fantasy as it is written tends to have an almost engineering quality to its construction, with things like quests that must be undertaken, or great monsters that must be fought, or princesses that must be rescued. The patterns are too familiar. Likewise, the magic in these things is constructed like machinery. Occasionally you run across things based on Greek mythology, where the gods are squabbling people taking one side or the other, and throwing thunderbolts or sending earthquakes.
But to look at this movie is to see a society that is barely above animism, the belief that everything has a soul, whether it is a human or a cat, or a tree, or a rock. And the only way someone like me can handle a worldview like that is in a mechanical fashion. There is no mystery, just ignorance, and a rock falls from your hand to the ground when you release it regardless. But the characters in this movie believe in the mystery. The river Titas may just go away, or Miss Samad may just be fooling herself. No one knows anything, and no one can know anything. It's not a worldview I can believe, and so I am reduced to seeing if the movie is internally consistent.... but that won't work either, because if it's not, then that is also a mystery, an insoluble one that is a fact of existence.
It makes my head spin. Ritwik Ghatak's movie tells a tale of a small fishing village where reality and legend are the same thing. Is it a good telling? My Western mind can't really tell.