The Hero (1966) User Reviews

Great undiscovered film (I'm so glad)

[crappydoo · 7/10 · 25 February 2008]

I have never seen an Indian movie quite like Nayak. Ray has forayed into parallel story telling, like Kurasawa's Rashomon and into dream logic like Bunuel's The Discreet Charm of the Bourgeoisie. I would personally rate it above Bergman's The Magician which also dealt with a similar theme of an actor's reality and people's acceptance of him as a super human and their reluctance of considering him as a human being. Between the two of them, Nayak is more easy to understand whereas The Magician puts its characters in various shades of good and evil throughout its running time.

No such dramatics here and this movie is as good as it gets. I would rate it as one of his best movies amongst Pather Panchali and Charulata. The dream sequences were very well produced and were relevant to the storyline on a sub-conscious level.

The subtitling on the Angel DVD wasn't very well done and the dialogues sometimes whizz by without us being able to read them in time. For people who are familiar with Indian languages, it may not be such a big deal since several of the Bengali words can be understood by them; however for non-Indian speakers this may come across as irritating.

On a personal note, I am sometimes glad that not many people know about Ray because then I am able of recommending him to people who are in the know of the movie industry.

Another gem

[badar1981 · 8/10 · 25 June 2007]

The complete experience can be summarized as "another master piece from a true master film director Satyajit Ray". It always remains a unique experience to watch in someone's past and especially into the hidden past. The movie tackles the very issue in the most effective of the ways. To carve you characters in the story is the most important part and great directors always take their time to do so and here Ray did it in style. He gives a very appropriate introduction to each. But what needs to be praised is… in doing so story did not come to halt… it keeps on moving and things become more clear with every passing movement.

The acting is very good. I know only actor in the movie before watching it… and that is of Shermila Tagore (because of her Hindi films). But really admires the acting of the main role played by Uttam Kumar. He is very natural, fluent and expressions complement his words in every scene. Especially the acting is priceless to watch in the scene in which he is telling Aditi about his insult by the one of his senior. A must watch for all those who appreciate good… excellent cinema.

8/10

No heroes allowed

[Peter_Young · 8/10 · 21 September 2021]

Satyajit Ray's Nayak tells the story of a film star. Of course, in mainstream Indian cinema, leading men are known as heroes, and the interesting paradox about the star of this film (which is probably true of most film stars who enjoy great public adulation) is that beneath this fake façade of stardom, fans, and fame, lies a man with a truly wounded soul, someone who has seemingly accomplished everything in his career but has actually accomplished nothing of what he would have probably wished for, both a person and and as an artiste. A very interesting concept of course which is adapted onto the screen in a most authentic and engaging picture. The film might not be Ray's best film, but it's still Ray's film after all, so how can one even expect anything less than that.

Satyajit Ray is, needless to say (sometimes even embarrassing to have to say that), a master director, a master storyteller, and this film is no exception in the illustrious list of evidence to his talent. Nayak is meaningful, highly absorbing, and to me it's a visual treat. The camera work and lighting are spectacular for a black-and-white film, and the setting of most of the story within a train makes for a delightful watch not only visually but culturally. Culturally because the decorative elegance, the restaurant, the order, as well as the crowd of passengers, wouldn't normally be associated with Indian trains of that period and might raise several eyebrows among non-Indians. The moving train demonstrates breathtaking views as the script moves through its conversational episodes.

Nayak works as a story, as a film, but in many ways as a poem, full of hidden, thought-provoking messages, and as a psychology textbook full of interesting insights of the human soul. The film also provides the viewer with a glimpse into the world of filmmaking from the actors' standpoint. While the story of a film hero who is actually nothing of the sort in real life is actually not big news to anyone nor is it a terribly original idea for a film, Ray makes it into such a personal story that the lead character's being an actor becomes just a random plot element. Ray takes us into his troubled world and does so with extraordinary symbolism. Take the dream sequences just as an example of Ray's profound mastery.

Naturalistic acting is to be expected in Ray films. Uttam Kumar is excellent in this author-backed role. Very few films of that era, not only in India, allowed this much of character depth and complexity, in fear of confusing the moviegoing public, but Ray knew how to balance it well, and Kumar plays the mix of Arindam's stylish appearance and inner conflict exceedingly well. Sharmila Tagore is luminous as the young, morally upright and compassionate journalist who learns to see the person behind the star and the story behind the item. She is grace personified with her elegant demeanor and restrained delivery. These two make this film what it is, and their interactions give the film its intellectual weight. The conclusion of the story is more than optimistic thanks to Ray's keen, optimistic vision.

Another one of Ray's less known but remarkable gems.

[Chrysanthepop · 28 September 2007]

'Nayak' starts with two news headlines about movie star Arindham (Uttam Kumar). One headline states that Arindham got involved in a brawl and the other states his nomination for a prestigious award. While travelling to Delhi by train (in order to receive the award) he comes across various people including a young simple but modern journalist Aditi (Sharmila Tagore) to whom he confides his inner thoughts. In the process, the actor further discovers himself and his fear. Aditi too is moved as her prejudice against the cocky pompous movie star changes while she discovers the man behind the name.

Ray cleverly tells Arindham's story about how he made it to stardom, his sacrifice of his art, loss of friends leading to isolation, fear of failure, seeking comfort in alcohol, his inner conflict...He weaves it all into a screenplay that takes place during a train trip from Calcutta to Delhi. A lot of it is shown in flashback mode. The dream sequences are another example of fine writing and execution. We're also given a brief view of the corrupt world of cinema, how art is long lost and how it's become all about money, fame and name...very relevant and applicable to today's Indian film industry.

Uttan Kumar, being the biggest star in Bengali Cinema perfectly fits the part. One wonders how much of the character resembles Kumar in real life. Though Ray is known to cast Soumitra Chatterjee (who happened to be Kumar's arch rival) in most of his films, he made the correct decision by casting Kumar for I cannot imagine anyone else play the part. Sharmila Tagore is wonderful. The actress has an amazing presence and with her grace, simplicity and sincerity, she shines. 'Loved her scenes with Uttam.

Like most of Ray's powerful work, 'Nayak' is a rather less known but remarkable film. One of my favorites!

A true masterpiece by Satyajit

[shahbaz-2 · 10/10 · 25 January 1999]

A least seen movie of Satyajit. Satyajit is one of the very few great directors who worked outside Hollywood circle and gave a lot to the film history. He is mostly know to the movie lovers as the creator of great APU TRILOGY. I feel that Ray's works are severely under-represented in USA, although most of his works are masterpiece or near-masterpiece. Thanks to Ishmael Marchent for arranging a retrospective on Ray's works at USA in 1996, I guess. But again in that retrospective, I didn't see the names of some of his great works, like NAYAK, KUNCHENJUNGHA, SEEMABADHYA, ARANYER DIN RATRI or SONAR KELLA. Names of the films that I always see in a Satyajit Festival are the APU TRILOGY, JALSHAGHAR, CHARULATA, GHARE-BAIRE ... etc. No doubt that all of those are great works of Ray, but indeed one cannot know the power of his filmmaking unless he sees some of his other less known works (some of which I mentioned).

Nayak is a simple story of the most popular Film Actor of India, acted with all perfection by great Indian Actor Uttam Kumar, who goes to the capital city Delhi to receive an award of his achievement via a train. On the train he meets Shormila Tagore (Another favorite actress of Satyajit whom he casted in several other movies like, Apur Sansar, Devi, Aranyer Din Ratri, Seemabadhya ... etc.) and some other characters of the story. The story progresses when Uttam discusses with different aspects of his life and career with others (especially with Shormila). In depth thoughts and feelings of UTTAM sprung out as time goes by and Shormila discovers the very lonely man in Uttam hidden behind his day to day charismatic lifestyle.

On my judgement, NAYAK is the greatest creation of RAY. UTTAM's acting can challenge anyone in the motion picture history. The high abstratness and philosophical bent of the movie is comparable to that of CITIZEN KANE (according to me, better than CITIZEN KANE) and the mutual conversations among the characters or the screenplay in other words, can beat those of MINDWALK, VANYA ON 42nD STREET, RED or CASABLANCA. A must see film for all great movie lovers. A 10+ out of 10.

A Perfect Ten

[sbaindia · 10/10 · 19 June 2008]

A movie at par with Citizen Kane and Rashomon and IMO even better than them in some ways. Impeccable direction and superb acting. Makes you wonder why these two - the actor and director not get together more often in Satyajit Roy films. The angst was so real it seems the guy is not acting any more - just telling his story as it is. The dream sequencewas outstanding as was the ending. The characterisation had on occasion skirted around the burlesque with the older actor in his first interaction with the protagonist but that made the scene all the more poignant. The underlying philosophy is not too deep but something that one can deeply empathise with. The greatness of this movie is how perfectly the story is told. There is an aura of dramatic tension throughout, not between the characters but within the protagonist himself. I would sincerely recommend this movie to anyone who loves what cinema is all about.

The back and forth journey of an actor from illusion to reality

[Nandini85 · 10/10 · 11 December 2006]

Ray's 'Nayak' is undoubtedly one of the best films ever made in history of Indian cinema. The story about an actor, Arnidam Mukherji, who is hailed as some sort of a demigod in the country, unfolds during a train journey and is told through several interesting narrative techniques : His life is presented in the form of a disjunctive montage, several pieces of which he supplies himself - mainly through the candid interviews given to his co-passenger, a freelancing journalist and the archetypal "modern woman" Aditi, and through his dreams, which reveal his innermost fears and the ghosts of his past. To his fellow passengers, and to most of his fans and audience, he is a charming, larger than life superstar, and the twin reports of his receiving an award in Delhi and getting involved in a brawl in a club, invite the same amount of speculation and curiosity from them. Arindam the superstar and Arindam the man with a conscience are constantly at conflict. His awareness of the superficiality of an actor's life clash with his concerns about the box-office and of becoming a forgotten hero - a fate bestowed upon many of the actors he had known personally. He desperately needs a person who will listen, and in a drunken stupor he tries to tell Aditi the truth about the reported brawl and the deception of Promila, his co-actor and flame. Aditi doesn't want any explanations, but she understands his turmoil - her prejudice against the brash, cocky film star is formidably shaken as she glimpses the real man behind the actor - someone vulnerable, broken and anguished, who has become a puppet in the hands of the film industry and the "public" as he puts it. Life goes on as usual, despite both Arindam and Aditi achieving a kind of epiphany during the train journey. The film for me is remarkable not just because of its story or symbols or technical finesse, but because of the brilliant acting and dialogs. 'Nayak', if I'm not mistaken is Uttam Kumar's (incidentally a huge superstar himself) first ever film with Ray. The sensitivity with which he has portrayed the character, almost makes us believe that, this is really his own life story that is being played out before our eyes. One of the smartest and slickest Ray films ever, this one gets a 10 from me. A must watch.

Consortium of Greatness in 2 hours

[chakrabortyabhishek07 · 9/10 · 8 July 2010]

I was around 14 years old when I first saw this masterpiece of Satayajit Ray. One very common thing between Ray and Kurosawa I noticed was introspection of perception.

A train journey allows a superstar to introspect his life and career which leaves him in shattered pieces. Uttam Kumar as Arindam was simply unbelievable and so was Shartmila Tagore as the reporter who was acting as a mirror (much needed) for Arindam to reflect.

This movie will give everyone a glimpse of the price paid to succeed. Success here is the Devil and greed here is the devil's advocate.... the price..........."SOUL"

A must watch if you are a movie lover....My Vote - 9/10

On success in life

[gbill-74877 · 8/10 · 31 January 2019]

This film from director Satyajit Ray reminded me a little bit of Ingmar Bergman's 'Wild Strawberries', as in each case a protagonist takes a trip in order to receive a big award, and thinks back on his life with some regrets. In this case, it's not an elderly professor, it's a middle-aged movie star (Uttam Kumar), and instead of a car ride with a daughter-in-law, it's a train trip where he meets a young journalist (Sharmila Tagore). She serves as his conscience and mirror over a series of discussions the pair have, and what she reflects is often not very pretty.

At the film's outset the famous star seems to have it all with his success and good looks, and Kumar looks pretty damn cool in shades and when he blows smoke rings. It's soon apparent that he's so worried about someday losing his fame that he's lost bits of his humanity along the way. Via flashbacks we find that he's done some petty things to others, abandoned the altruistic cause of a friend, and taken advantage of women who want to get into films. There is something empty and pathetic about his life that those who get to know him see, including the journalist and a mother and daughter in his compartment who are adoring fans, but see how he pops sleeping pills and gets plastered. And yet, he's always cast as a hero (a 'nayak'), and to the legions of fans who crowd around him in the train stations, he is one.

The meaning of that is pretty clear, but it's not as simple as just showing us how someone on a pedestal may be unworthy of being there. More generally, the film shows us how the most outwardly successful people may be damaged or flawed within, and carry a lot of insecurity. It does this in a thoughtful and reflective way, avoiding simple black/white characterizations. Ray adds depth to the story with a subplot in which a salesman wants his wife to be friendly to another man in order to help win him over. It adds to the overall question, to what lengths should one go in order to be (financially) successful? And regardless of whether one can stay on top, he reminds us via a powerful dream sequence featuring skeletal arms poking up out of mounds of cash, that death will come for us all.

The performances are all fantastic, including an old curmudgeon who eschews "modern movies", and Tagore, who is intelligent, sassy in a reserved way, and beautiful too. I liked how Ray didn't have her succumb to the movie star's charms, as a weaker director/writer might have done. He also uses the train very well, both in moving the action around its various compartments and aisles, and in giving us the scenery outside. In one moment Kumar stares down at the adjacent rail track streaming by with a glint of light on it, and it made me wonder if he was wishing he could be like that rail, staying straight as the train of life rumbled along, and always in the light. The film also made me wonder if the main character reflected a little of Ray himself, who by this time was famous (ala Fellini's 8 ½). It's a film that I might rate higher with a second viewing, and may have held back a little here because I have a slight aversion to stories involving the problems of famous people. It was memorable and had a strong ending.

In Search of Rhymes in a Blank-versed Life

[purnenduvianworld · 10/10 · 9 September 2011]

"Some are born great, some achieve greatness, and others have greatness thrust upon 'em," William Shakespeare once said. We find the second category in work in this movie. But, we also find, if noted carefully, the other two categories having passing references at several points of the film. Caught in this mesh of the warp and woof of various threads of 'greatness' is a man, a putative 'Hero', searching for rhymes in a life riddled with blank verse. Shuttling between illusion and reality, he finds some rhyming notes, as it were, in Aditi - a journalist - who at first disregards him for she thinks actors are over-worshipped and unreal. Being in such a high position he has none to confide in as doing that may play havoc with his films and fan-base. Timely flashbacks, which concrete the base of his character and adds to the film a surreal tinge, tell upon his persona as a 'Hero' and he hits the bottle. An often-worshipped and ever-lauded 'Hero' becomes a flesh-and-blood layman to be cared for and sympathised with. Though the train journey has brought the 'Hero' close to a small part of his 'public', yet the journey has its end; and with it ends the contact with reality, ends the friend to be confided in, ends the haunting retrospection. What lies ahead is a sea of fans at the gate with their unquestioning acceptance of and devotion to their unreal 'Hero' and for him again a life of illusion and hero-worship. Parallelly moving with this main plot are some subtly woven sub-plots which show the idiosyncrasies of the characters on board the train along with the 'Hero.' The characters contained in the microcosm of life, reflective of the macrocosm, on the train act as Ray's mouthpieces to drive home some wrongly-held notions, regarding life and films, by the 'public' and the 'Hero.'

nope

[treywillwest · 7/10 · 17 February 2019]

As filmmaking goes, I think this as fine a movie as any by Satyajit Ray that I've seen. Narratively, it is a bit clumsy at times because here Ray seems the most blatantly to be striving to be western. Some of the resulting dialogue and characterizations are uncharacteristically ham-fisted.

Set largely on a train, Ray and DP Subrata Mitra make wonderful and unique use of windows to make this chamber saga seem expansive. One rarely sees soft-focus utilized to reveal landscapes, but the filmmakers do just that here to great affect. The Indian countryside cohabitates in the luminous close-ups of stars Uttam Kumar and Sharmilia Tagore.

A character study of a spoiled Bollywood star, this film, more than any others of Ray's that I've seen, reveals him as a great admirer of then contemporary European cinema. Clearly, Ray had been watching La Dolce Vita and 8 1/2 very attentively in the years before making this film. For Nayak could fairly be described as an attempt to make a Fellini movie in India. The result is one of the few Ray films to seem derivative, and at times pretentious. There are unnecessary references to Freud, and indeed, much forced Freudian psychologizing in the character study. One senses in this work a troubling desire by its auteur to achieve "white approval".

Another possible source of inspiration for Nayak is some of the meta-cinematic work of the early French New Wave. This influence Ray displays with more grace, putting the mirror on the cinematic medium in his own way. The actor-protagonist played by Kumar is told by many other characters over the course of the film that movie acting can never be real acting, that the actor in cinema is but a prop. One senses that Ray was challenging Kumar to prove these assertions wrong, and Kumar certainly answers the challenge.

catch the two giants of 1960s Bengali cinema in one movie

[sd259 · 9/10 · 18 October 2005]

Uttam Kumar is regarded the greatest star of Bengali Cinema (a MahaNayak). It is quite apparent that Ray's favourite actor was Soumitra Chatterjee. Nayak and Chiriakhana are the only two films Ray made with Uttam. It is an ironic film made at a time Uttam was at his peak of his star status like his character Arindam and this movie almost feels like a Ray's satirical tribute to Uttam - smooth professional that he was Uttam unperturbed gives a superb performance. Nayak is my personal favourite of Ray films and certainly the best of Uttam's films. Sadly, I have never been able to see Chiriakhana. has anyone seen this film? It is the only whodunit Ray filmed without Soumitra in the lead role. Wonder why Satyajit didn't continue with Uttam after this performance...

Not the best of Ray, if you compare it with similar international films

[JuguAbraham · 7/10 · 16 January 2016]

I had a lot expectations from this film and I was disappointed. I guess if I had viewed this film in 1966, my reaction would have been different. It is definitely a creditable work for Indian cinema in its day. Not much more.

For me, Ray's top works remain "Jalsagar (The Music Room)" and "Pikoo's Diary."

Compare "Nayak" with two considerably similar train films--Jerzy Kawalerowicz' "Night Train" (1959) made six years before the Bengali film, and the 2005 cinematic triptych "Tickets" (Olmi/Loach/Kairostami) and "Nayak" pales in comparison. Ray's characters are all believable and real. Their range in age and dispensation are laudable. The cinematography is laudable. But I prefer the two non-Indian train journey films that I mentioned any day to "Nayak".

Life of a movie star

[lyrxsf · 5/10 · 27 May 2006]

Its a predictable story of the life of a silver screen hero. The fame comes with baggage of isolation. Friends and lovers are sacrificed to maintain the image of a movie star. Gradually, with time, the value of success itself gets diluted and a love-and-hate relationship with life sets in. All this is appropriately captured in the movie. The Nayak drifts from righteous inspiration early in his career to being jaded, though extremely popular. Uttam Kumar does well, he does not shy away from depicting real on reel. There are some extraneous plots in the movie, which act as fillers without taking away from the main story.The other reviews are over-the-top, perhaps colored by their Bengali nationalism.

Brilliant acting by Uttam Kumar in a master piece from the master himself.

[nilanjan_banerjee · 10/10 · 17 July 2001]

The film has a beautiful script most aptly delineating a life of a matinee idol. Brilliantly performed by Uttam Kumar, originally the matinee idol of contemporary Bengal, this was probably the best role that he acted in. His glamorous screen presence in the entire movie is most impressive and is definitely the mainstay of the movie. The story was supposedly written, keeping his struggle to stardom and the tolls of stardom in mind. Perhaps one of the most important reasons that Uttam performed so well was that he could probably identify himself in the role. Once again, coming to the scripts, written by the maestro Satyajit Ray, himself was simply superb. Within a span of a train journey from Calcutta to Delhi, the entire life of a film star, with all its shades was most adeptly portrayed. With such a script and direction by Ray it is a pleasure to watch the movie. The performances by other actors are also commendable.

Satyajit and Uttam - two genius together

[mantrani74 · 29 June 2004]

Though Uttamkumar is not the favorite of the class audience as opposed to Saumitra Chatterjee, the favorite of Satyajit Ray himself, this movie is one of the two occassions where Uttam and Satyajit came together and the outcome is a masterpiece. To me, this is the best creation of Ray. Satyajit rightly chose one and only Uttam as the 'Nayak'.Undoubtedly, Uttam,whose movies are intimately woven to every bengali's life even after 24 years of his death, is the alltime silver screen idol of all generations of Bengali film lovers. Though Uttam didn't get the much blessings of the classy directors compared to his arch rival Soumitra, this is one of the few occassions where Uttam got the chance to prove his acting skill and explioted to the fullest extent.

The story starts when there are two news regarding Arindam, played by uttam, published in the news papers - one is the fighting in a night club and the other that he has been nominated for a prestigeus award. In a train journey to delhi, he reveals himself to a lady reporter played by Sharmila. It was a self digging in a form of informal interview. The movie shows the public life and the personal life of a celebrity and all within the time span of a train journey and the flashbacks.

Finally, whoever likes good movie and haven't seen it already, its should be a must-see one.

One of the great classic train journey films

[robert-temple-1 · 10/10 · 7 April 2014]

This early film by the Great Master, Satyajit Ray (Ray should be pronounced 'rye', by the way, which few people seem to realize), has the original title of NAYAK, and was also released as NAYAK: THE HERO. It has recently been released by Artificial Eye as a Blue-Ray in high definition, clearly made from the negative, and the film is as crisp as new, without any scratches or faults at all. Most of the action of the film, set in the late 1950s or early 60s, takes place in the first class carriages of the Calcutta to Delhi Express train. This film takes its place in the pantheon of great train films, alongside Jerzy Kawalwerowicz's NIGHT TRAIN (POCIAK, 1959, see my review) and Josef von Sternberg's SHANGHAI EXPRESS (1932). The first few minutes of the initial scenes in the film do not at all suggest the fascination of what is to come, so impatient people need to rest easy until the real action commences. Once everyone is on the train and the long overnight journey commences, Ray's mastery of pace and style creates another of his masterpieces with seemingly effortless ease. The subtlety and sophistication of the film is truly astonishing. But then, Ray always takes one's breath away. This is one of the few Ray films I had never seen before. It features an exquisite and restrained performance by Sharmila Tagore (distant relative of Rabindranath Tagore), who had made her screen debut with Ray in his masterpiece THE WORLD OF APU (1959) seven years earlier, and appeared in other Ray films later on. The lead role is brilliantly played by Uttam Kumar (1926-1980, dying young at only 53, but after appearing in an astonishing 157 films). As a troubled young movie star of vacuous popular films, he knows that he has betrayed his inner self for money and fame, and he pours his heart out on the train to Sharmila Tagore. His good looks contorted into such earnest, thoughtful expressions reminded me so much of Lawrence Harvey towards the end of his life. Many characters are on the train, and their parallel stories run alongside the main one of Kumar's, who is known as 'the hero' in his films and give this film its title. The casting is superb, as usual, the directorial magic of Ray casts its usual spell upon the viewer, and we are lost in this moving world of the train and its stories, a transcendental caravan making its way across the Indian landscape ('it is harder and dryer now that we have crossed the border of Bengal'; 'you are harder and dryer too') in a kind of dream. Kumar has dreams on the train which are excellently filmed, and the train journey itself becomes one as well. Ray's films were all made in the Bengali language, which is incomprehensible to the inhabitants of other parts of India, so that Ray is surprisingly unknown to India as a whole. Most Indians are wholly lost in the make-believe world of 'Bollywood' musicals and have no interest whatsoever in serious or meaningful films. I have never met any Indian from the west of India who has ever seen a Ray film. They would have to have subtitles, and would find Ray's films too thoughtful and would consider them unentertaining. This is a great pity, because Ray was an artist of international stature, and for some decades his portrayals of Indian life and culture experienced worldwide success and acclaim, and gave India a huge cultural reputation. India should pay more attention to him. But we also must keep reviving and studying his masterpieces, the most famous of which are of course THE APU TRILOGY, though my own personal favourite apart from that wonderful trilogy is THE MUSIC ROOM (1958), a mesmerising film about a man obsessed with music, which is almost forgotten today. This film, THE HERO, has much to say, and it achieves some profound insights into human character and motivations. It is also spell-binding in its quiet peeling away of the layers of conceit and deceit in our human affairs.

Satyajit Ray's brooding treatise on fame, guilt, empathy and solitude

[murtaza_mma · 9/10 · 2 August 2015]

Nayak (aka Nayak: The Hero) is a 1966 Bangla drama film written and directed by the legendary Indian filmmaker Satyajit Ray, starring Uttam Kumar and Sharmila Tagore in the lead roles. Satyajit Ray presents the tale of a movie idol, named Arindam Mukherjee, who despite his fame and success is haunted by solitude and a sense of guilt. He is both a compulsive smoker and an alcoholic. Although, Arindam hasn't yet tasted failure, the very thought of it fills his heart with grave fear and premonitions. He has had female companions but still pines for true love. He has all the materialistic pleasures at his disposal but is robbed off his mental peace.

While on a train from Calcutta to Delhi to receive an award, Kumar meets a female journalist, Aditi Sengupta, who has little regard for movie stars. Aditi wants to interview him but she is least interested in printing what everyone already knows about the matinée idol. So, she blatantly asks him to reveal his true, darker self to her. He, however, dismisses her, saying that he doesn't want to self-destruct his goody-goody image in front of his market. But, Arindam soon begins to regret the missed opportunity to finally unload his burden. He then sees a dream wherein he gets drowned in a quicksand of money. When he finally wakes us, he feels uneasy, and, out of desperation, approaches Aditi to start a conversation about his rather oblivious past, leaving himself completely exposed in front of her.

Nayak is a testament to Satyajit Ray's remarkable range as an auteur par excellence. As a brooding character study, Nayak is distinctively different from Ray's early ubiquitously renowned works like Pather Panchali (1955) and Mahanagar (1963), which are essentially dramas laden with social commentaries. The social commentary in Nayak, on the other hand, is mostly implicit. However, the one Ray movie that Nayak does hark back to is the 1958 musical masterpiece, starring the great Chhabi Biswas, Jalsaghar— undoubtedly, one of the greatest character studies of all time. Nayak serves as a great precursor to Ray's "Calcutta trilogy"— comprising Pratidwandi (1970), Seemabaddha (1971), and Jana Aranya (1976).

In Nayak, Uttam Kumar plays Arindam Mukherjee with such poise and ease that it appears as if he is portraying his own life on the celluloid. Ray gives us a vulnerable hero hiding behind his cocky, larger-than-life façade. And, Kumar, to his credit, never misses a note during his challenging portrayal. He is well complemented by Sharmila Tagore who plays the character of Aditi to a tee. Aditi is the only person Arindam opens up to; the tantalizing conversations between the two characters offer some great food for thought. Ray uses the various interactions between the co-passengers to make us realize that the hypocrisies and follies of a star are not much different from that of an ordinary man. A few other characters in the movie merely provide a morality check.

Overall, Nayak is a powerful work of cinema that like most films of Satyajit Ray remains as relevant today as it was back then. Nayak is not an easy movie to watch. Unlike other Ray films which require patience, this one requires composure. There are scenes of such enormous power in Nayak that a faint-hearted will get jitters while watching it. Ray's use of dream sequences to make the narrative more evocative puts him up there with the likes of Bunuel, Kurosawa, Bergman, and Fellini. Nayak is certainly a film that every student of cinema ought to watch.

(This review was first published at A Potpourri of Vestiges)

When the legendary actor meets his alter ego

[debanjan-bagchi · 9/10 · 22 January 2011]

Nayak is one of the most unique, underrated, & comparatively less known Ray movies. Where a lady reporter (Aditi, played by Sharmila Tagore) discovers the undisclosed & vulnerable life of a legendary film hero in the hands of his industry, fans & his success, during a train journey. Satayjit Ray has used allegory through train (viz. Pather Panchali, Aranyer Din Ratri) several times in his movies. This journey eventually takes place from east to west, that was the direction world civilization used to move at that point in time, best work is most appreciated & sun, still sets today. After introduction with the journalist the hero looks back at his past from the peak of his career (like the afternoon sun) to recollect phases & people in his life (like rising of the sun). With his larger than life profile, magical smile, mesmerizing voice, killer looks - he soon becomes a very lonely & ordinary man to us. The fans of 'Arindam'(The protagonist played by Uttam Kumar), like whom all other men wanted to be, even becomes sympathetic to him.

Several characters makes a nice collage in the film. The script so amazing that one can hardly dare to take a break during this 120 minutes. The dreams shots are at par with the best same kind shots of Luis Bunuel & Ingmar Bergman. Editing, background music & sets are also magnificent. The light & shadow has been used to portray good-bad, past-present in a shot as good as never before in Indian panorama when 'Arindam'(protagonist) meets 'Mukundo Lahiri'(his past rival) after his success. Human emotion, greed, ambition, selfishness, simplicity has been portrayed with delicacy & satire. Ray was the maestro in extracting the best performance of an actor. Hence acting quality of all actors was splendid & Uttam Kumar, the Bengali film legendary romantic hero, delivered the performance of his life keeping the everlasting discussion-topic how underutilized he was by all other directors of his time!

A magnificent screenplay rather World class.

[lahiriritwik52 · 9/10 · 6 January 2015]

This movie gonna remind you Ray's skill in screenplay writing. One of my favorite screenplays is '12 Angry Men' by Reginald Rose and this one is the second best(obviously in my opinion). The movie is PERFECT and compact in all aspects. Direction is absolutely flawless. In most of his movies Ray chose Soumitra Chatterjee in the lead role but in this movie he preferred Arun Kumar Chatterjee(a.k.a Uttamkumar). There is no doubt that he made a correct decision. Uttamkumar's acting in the role of 'NAYAK' is fantabulous. This movie is about the ups and downs in the life of a successful film star. He revealed his story to a journalist(Sharmila Tagore) when he was boarded on a train. Alongside Ray created other characters which were also very significant and lie in perfect harmony with the main course. He pictured every character with some unique qualities, and sometimes made a mockery of the modern lifestyle and intellectualism of upper middle class. The character of Aditi(Sharmila Tagore) is very soothing. She never compromised on her righteousness. And that's why she tore off the paper of interview at last because it was never gonna give her any satisfaction. A masterpiece. A world classic.

A hero of popular movie has to go to Delhi, but he does not get a flight reservation. Hence he has to travel on a Indian train.Whom will he meet? What will happen?

[pratitingkb · 10/10 · 16 June 2017]

Nayak is the first movie Ray made based on hos own story. Seeing the movie one gets a sense of how great a writer he is.

The title literally means Hero and the biggest strength of this movie is the casting. For generations of Bengali(including me) Uttam Kumar is the ultimate hero. Hence who better to play the Hero?

Sharmila Tagore as the aloof, inquisitive journalist is perfectly cast and she is compliments Uttam Kumar's grief and his loneliness.The movie is almost like a poetry where we hear the hero become human.

The side characters may seem unnecessary but they are so masterfully crafted that we are intrigued by them. I especially liked Kamu Mukherjee as Sarkar. It is these small roles that made him such a necessity in Ray's Oeuvre.

" Yet another analysis for Nayak – Bengali film – 1966"

[anirban-ghatak-662-726696 · 9/10 · 19 June 2013]

" Imagine a moonlight sky where you have all the riches of the world but no one besides you to share the moment. The moment of sheer romance is lost into an instant disarray of loneliness. Does success always come with a price and if yes, are we all ready for it? Ray's quest into screenplay took the form of a film post Kanchanjunga where he wrote the script for Nayak, a story about an ace film star,a matinée scorer and his maiden cross country journey in a train towards Delhi to receive the National award. This train journey is a bit different for Arindam (Uttam Kumar) who faces the first rare chance of a flop in his career and worse a page three report related to a women faced brawl involving him. The film uses flashback as Arindam gives interview to a fellow amateur reporter Aditi (Sharmila Tagore) and before Arindam realizes he is lost in a journey of sympathy, confession and guilt. Ray was a prominent critic for the 70's and maybe he wanted to show what commercial films has given and what it has taken away. Ray uses the early days of Arindam to narrate his relationships to theatre world especially with his mentor Shankarda. Arindam being the backbone of Shankarda's acting theatre was lured into commercial film offer which caused his theatre business to fail and hence a sudden death for Shankarda. Arindam flashes back even further as he enjoys the company of Aditi into his first commercial film as he recollects his role where he was bullied by a senior actor Mukunda Lahiri who seemed old fashioned for Arindam and often Mukunda's rebuke frustrated and ultimately pulled Arindam to an avenge for Muknda Lahiri much later in his life. Arindam also narrates about his college friend Brijesh who took up active politics and once tried to use the star status of Arindam to motivate the striking workers at a factory which Arindam refused as today he is successful and college adventures donot suit him. Arindam today cannot sleep, his success can not buy him a rest. His riches is of no use as he gets more frustrated playing the same glamour role and often thinks what would happen if his next three film flops. He starts to share a jovial relation with Aditi as the journey progresses but his own gulit and a sense of justice makes him contemplate suicide. But Aditi influences him here and again as the train halts at Delhi Arindam is lost as the super star among his fans where there is no room for guilt nor justice. Its sheer stardom and maybe Arindam has to carry it for the rest of his life. Few aspects of the film which stands apart are 1. Devi Chaudhurani – Arindam first film was Devi Chaudhurani and Ray loved this character. Ray did have aspirations of filming Devi Chaudhurani which never worked as rumors reports Suchitra sen turned him down at the peak of her successful career. 2. Sub plots – Ray uses lots of secondary characters with sheer perfections to tell the story of his pasts. Shankarda,Mukunda and his lost friend Brijesh 3. Parallel plot – The plot of a businessman using his wife to make a deal is in back drop which Ray uses to show that even society is unfair not only commercial films 4. Journey – Ray loved to portray travel and he repeats this in Nayak. Other journey related films are Abhijaan, Sonar Kella and Aranya din ratri. Ray spills the beans in his later film via the characters in Aguntuk and refers this to the famous German word " Wonderlust". Ray was a Sindbad in his own rights. 5. Aditi – Ray beautifully portrays the character of a critic for Arindam who gives up her interview notes , in a way to save Arindam for further trauma 6. Dream sequence – Film experts regards this as best dream sequence where Shankarda never saves a dying Arindam in between a sea bed of bank notes 7. Films donot change society – The film ends where all character return back to status quo. The journey donot change them. Arindam returns to the glamour world, Aditi tears off her interview and gives up the spook of Arindam Finally, during my research for Nayak I found a wonderful line with which I would end my review – "Not to have seen the cinema of Satyajit Ray means existing in the world without seeing the sun or the moon." Akira Kurosawa

Contradiction between the Real & Reel life of one and the mystery he drags with him

[biswanathdas86 · 21 November 2011]

'Awesome....' There should be simply one word, which makes it clear. But can't resist myself from being elaborate!!! People say one have lots of shades in his/her character, fewer said - 'If one's a public figure, then you are the most neglected character in the society'. Readers may feel confused. Don't be. Just feel the misery & anger of one who's popular and common people want to know everything about him. There is no so called private thing he can have. This burnt him so much and the aftermath is: he tends to hide his all things from everyone. This process got his entire effort and the work for which he is famous tends to loose focus. In the way to keep secrets, often the person himself forgot those very own & inner things.

Here, train journey implies the must have life long journey as a human being. Often these persons open up their very inner most feelings-thoughts-memories to someone. But only when he/she is assured of something: 'Again the secrecy of these things'.

In Nayak, Sharmila plays that kind of character who can keep secrets like a secret, but only with healthy warmth personal touch. This movie was framed in late 60's, but the thought process behind it, eternal. There are endless thing to describe this movie. You have to watch it, because it's journey of a lifetime for everyone. It was nominated for many international awards, as Ray & Uttam Kumar both gave their best possible effort here. 9 out of 10.

Bengali Movie Nayak

[Konthasa · 10/10 · 20 January 2015]

It is a journey; not only on the screen, but - taking us along the sequences. I would rather say it is a journey of a human being in the audience side of the screen. One can feel himself/herself in each of the character an enjoy the visual life. This is Ray's original script. A journey of an actor and analysis through the eyes of fellow passengers. Also, a gist of self analysis is done in the end by the actor (Uttam Kumar). Here, Ray has given screen-area to each of the actor/passenger. Moreover, a remarkable and extraordinary cinema in black and white; rather including color movies. In the end I prefer the journey should not end.

"Another original script by Ray"

[smkbsws · 10/10 · 16 September 2020]

Another original script by Ray. This is about a day in the life of a very top notch film star and the biggest star then in Bengal, Uttam Kumar, was cast to play the main role here. Dialogue writing here is so much institutional that can be learnt for any kind of scenario. You will see this flick from different perspective too - I mean how others see, envy, love, hate or get jealous about the celebrities and those feelings are actually leading from scenes to scenes here. Ray's movies always had some motif of railways or trains, but here, his art director Banshi Chandra Gupta made the entire second and last act about this so much into it that we can call it as the 'literally' and 'figuratively' the driving force of the film.