#911: RAY, Satyajit: The Hero (1966)
RAY, Satyajit (India)
The Hero [1966]
Spine #911
Blu-ray
The Film
Uttam Kumar (1926-1980) was a phenomenally popular Bengali actor. His starring role in this film seems to bear a striking resemblance to the actor’s real life. It is said that Ray would not have made the film without his participation.
The Booklet
Thirty-two page booklet featuring an essay by author Pico Iyer and a 1980 tribute to actor Kumar by Ray.
Commentary
None
Interview #1
The Hero [1966]
Spine #911
Blu-ray
In this psychologically rich character study, written and directed by Satyajit Ray, Bengali film star Uttam Kumar draws on his real-world celebrity to play Arindom Mukherjee, a matinee idol on the brink of his first flop. When Mukherjee boards an overnight train to Delhi to accept an award, a journalist (Sharmila Tagore) approaches him seeking an exclusive interview, which initiates a conversation that sends the actor reeling down a path of self-examination. Seamlessly integrating rueful flashbacks and surreal dream sequences with the quietly revelatory stories of the train's other passengers, The Hero is a graceful meditation on art, fame, and regret from one of world cinema's most keenly perceptive filmmakers.
117 minutes
Black & White
Monaural
in Bengali
1:33:1 aspect ratio
Monaural
in Bengali
1:33:1 aspect ratio
Criterion Release 2018
Director/Writer
Satyajit Ray was 45 when he wrote the story, screenplay, music and directed The Hero.
Other Satyajit Ray films in the Collection:
Other Satyajit Ray films in the Collection:
The Film
A middle-period film from the great Satyajit Ray, The Hero (Nayak) is a thoroughly enjoyable watch, from start to finish.
Uttam Kumar (1926-1980) was a phenomenally popular Bengali actor. His starring role in this film seems to bear a striking resemblance to the actor’s real life. It is said that Ray would not have made the film without his participation.
The opening (Bengali) credits are superimposed upon three horizontal black bars with three vertical black bars forming a simple geometric figure. Additional bars are added as the credits become more complex, and then the bars are gradually removed, leaving only square white blocks. We see a blur of a man behind all this.
Ray himself composed the music which boldly accompanies these credits.
We first see Arindam Mukherjee (Kumar) from behind as he finishes shaving with an electric razor, which he puts away as we see he is packing a suitcase.
From the opening dialogue, the similarity of plot to Ingmar Bergman’s Wild Strawberries (Spine #139) is apparent. Our “hero” is getting dressed to go on a trip to accept a prize, which he freely admits he “doesn’t give a damn” about.
- It is always interesting to hear the English language mixed in with the Bengali. Arindam seems contemptuous of his audience, asking his assistant why his current film isn’t doing that well.
- (in Bengali): “I’m in it. (in English): Isn’t that enough?”
- As Arindam leaves the room, he throws an English-language newspaper at his assistant — the headline: “Film star involved in brawl.” The plot thickens.
- Most of this film takes place on a train. But Ray gives us two quick scenes which sharpen our sense of Arindam. The first is with his manager, Jyoti (Nirmal Ghosh) — where we learn more about the “brawl” and over a quick breakfast, his refusal to sign a new contract, and a last-minute addition to his suitcase — a bottle of liquor.
- The second is an amazing ECU of Arindam taking a call from his “leading lady,” whose voice we hear but she never appears again in the film. He puts on his sunglasses and lights a cigarette as he casually dismisses her. It is a brief, yet potent insight to his character.
- On the train we begin to meet most of the supporting cast.
- In one of the funniest scenes, the conductor (Gopal Dey) informs Arindam that he’ll be sharing a compartment with Mr. Chatterjee, an elderly journalist (Jogesh Chatterjee) who — according to Arindam’s assistant — would like to abolish the entire film industry.
- “Namaste.”
- “So you act in the talkies?”
- “Yes sir.”
- “I’m opposed to the talkies on principle. But yielding to a friend’s request once in 1942, I saw How Green Was My Valley.”
- “That’s a good movie.”
- “But as a rule, films are bad.”
- “But why blame us poor actors?”7
- Ray moves the camera to face the old man directly. A pause. “Do you drink?”
- “Well — a bit.”
- “Film actors drink as a rule.” Arindam fumbles a response. Chatterjee continues — in English: “It shows a lack of restraint and lack of discipline.”
- I find it quite interesting that this old man speaks most of lines in English. He would have grown up when the English still ruled India. Perhaps his parents were employed by an English family. These are the kind of details that make a Ray film so fascinating.
- The smell of alcohol makes him nauseous. “I am 79, and as such I expect some consideration from my fellow passengers.”
- Suddenly, Arindam decides to change compartments!
- He moves in with the Bose family. (Mr. Bose: Ranjit Sen; Mrs. Bose: Bahrati Devi; and the daughter, Bulbul: Lali Chowdhury). A conversation between Mr. Bose and Arindam is pregnant with meaning about the worldwide film industry in the mid-60’s:
- Bose: “In Japan I observed that the film industry was growing rapidly. America, of course, has always been well ahead, but on my last trip I noticed a slump there. The studios were idle, or else turning out films to TV. It made me sad. After all, there is nothing to beat American movies.”
- “Very true. We learned all about acting from them.”
- “No offense, but we’ve never learned to care about quality. Our motto seems to be ‘Produce more and produce rubbish.’”
- Arindam takes a moment to reflect before agreeing.
- The scene switches and introduces us to the most important subsidiary character, the feminist writer Aditi (Sharmila Tagore).
Ray shapes his cinema from here on to highlight the unusual relationship between Arindam and Aditi. Flashbacks and dream sequences illuminate his reasoning and all the interactions with the subsidiary characters clarifies the mise en scène.
A fantastic film from one of cinema’s great auteurs — only his second original screenplay.
Film Rating (0-60):
55
The ExtrasThe Booklet
Thirty-two page booklet featuring an essay by author Pico Iyer and a 1980 tribute to actor Kumar by Ray.
Terrific essay touching upon many important details about the making of the film.
Ray’s tribute to Kumar is very touching.
Commentary
None
Interview #1
From 2008 with actor Tagore.
A delight to see her all these years later. Her respect for Ray is evident.
Interview #2
Featuring film scholar Meheli Sen. Very informative.
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