This powerful psychological drama follows a young executive's climb up the corporate ladder and his slow immersion into corruption, seen through the eyes of his young sister-in-law.
Shyamal (Barun Chanda) is an ambitious Marketing Manager in a British firm in Calcutta, manufacturing fans. He's married to Dolan, and lives in a company flat. He aspires to become the company director. For this he has to compete with a colleague who has a relative in the board of directors.
His sister-in-law Tutul (Sharmila Tagore) arrives from Patna to spend a few days with them. She has been a great admirer of the ideologist Shyamal and was envious of her sister's marriage with him. Tutul is Shyamal’s conscience. Shyamal shows her the delights of city life - the cocktail parties, the clubs and horse racing.
Life goes on smoothly for Shyamal until he learns that a consignment of fans meant for exports is defective. There is not much time to rectify the fans. It could result in cancellation of the export contract and an end to his dream of becoming a director.
Hopeless, Shyamal takes Tutul in confidence though not his wife. Late at night, he hatches a plan with the labor officer to provoke a strike at the factory. A factory watchman is badly injured and a lockout is declared. The export contract is saved.
Shyamal becomes a director but he has fallen low both in the eyes of Tutul and his own.
This is the second film of the Calcutta Trilogy. The other two were and Pratidwandi (The Adversary, 1971) and Jana Aranya (The Middle Man, 1975). All the three films study the effect the big city of Calcutta has on the educated youth and the price it extracts from them.
With an effortless conviction, Ray builds up the narrative, and characters including the minor ones. The film has a poetic and understated ending. As triumphant Shyamal returns home after being named a director, the elevator is out of order. A joyous Shyamal begins to climb the stairs. As he ascends his steps become slower. When he reaches the top, both physically and metaphorically, his joy has vanished. Tutul who has witnessed fall of her hero, sits beside him, they exchange glances. Without making a sound Tutul removes the watch that he had gifted her. She places it on the table. We see Shyamal from above a ceiling fan, with his head bowed in his hand and Tutul fading away.

转眼之间，阿普（Smaran Ghosal 饰）长大了，然而，生活却并没有因此而变得更加宽容。和父母搬去博纳斯之后没多久，阿普的父亲就永远的离开了他的家庭，就这样，阿普和母亲过起了相依为命的生活。
母亲希望阿普能够成为一名神父，但阿普却并不这么认为，他希望能够就读正规的学校。最终，母亲顺从了阿普的想法。阿普没有让母亲失望，他用出色的成绩和光明的前途向母亲证明了他的用功和努力。阿普得到了念大学的机会，但是，对于他贫困的家庭来说，这个消息既是喜讯，亦是噩耗，为此，阿普和母亲之间发生了激烈的争吵，这一次，在亲情和未来之间，阿普和母亲会做出怎样的选择呢？

1972 documentary film by Satyajit Ray

Gangacharan是村里新来的婆罗门（印度僧侣）。在村里，他承担了多种职责。包括教书，组织宗教事务，预防流行病等等。在1943年的印度，时局动荡，战争频仍。乡村上方经常有飞机呼叫盘旋，发出战争的信号。此时，饥荒开始侵袭村民，食物的极度希缺对于已经被战争搅得人心惶惶的村民来说，简直是一次灾难性的生存难关。Gangacharan决定运用他的僧侣身份和特权为村民们争取利益，躲过饥荒。同时，Ganga...

（维基百科）
Mukul (played by Kusal Chakravarty) is a young boy who is said to be able to remember events of his previous life. He stays up late into the night and draws sketches that he claims are of battles he had seen. His father decides to take him to Dr. Hajra (Sailen Mukherjee), a parapsychologist, for treatment. After listening to his descriptions of deserts and peacocks, Dr. Hajra guesses that the place Mukul describes might be in the deserts of Rajasthan, a state in western India. Mukul also mentions that he lived in the Golden Fortress (Sonar kella), though he can't explain what this means, and that their house had lots of gems. Dr. Hajra decides to take Mukul on a trip to Rajasthan hoping this may shed deeper light into such parapsychological phenomenon, , as well as help cure the young boy.
A newspaper report on Mukul and an interview with Dr. Hajra alerts two men by the names of Amiyanath Burman (Ajoy Banerjee) and Mandar Bose (Kamu Mukherjee), the villains in the story. Burman and Bose had earlier had encounters with Dr. Hajra, when he had exposed fraudulent activities of the pair. They interpret his mention of gems as a hidden treasure and plan to kidnap Mukul in hope of getting their hands on it. Their first attempt at the kidnapping fails when they pick up another boy, also named Mukul (Santanu Bagchi), from the same neighborhood. Mukul had already left for Rajasthan.
Alarmed by the failed kidnapping of his son, Mukul's father engages the service of Feluda (Soumitra Chatterjee), a private investigator, to help protect his son. Feluda accepts the assignment and leaves for Rajasthan along with Topshe (Siddartha Chatterjee). On the way to Rajasthan Feluda and Topshe meet Lalmohan Ganguly, a.k.a. Jatayu (Santosh Dutta), a popular thriller-writer, for the first time.
Meanwhile, Burman and Bose befriend Dr. Hajra, who is travelling on the same train but fails to recognise them. Dr. Hajra finds out that Mukul's father was a gemcutter, so the gems mentioned by Mukul have nothing to do with treasure. But Burman and Mandar Bose don't know this. They push off Dr. Hajra from a cliff and kidnap Mukul, with Burman impersonating as Dr. Hajra and Mandar Bose as a globe-trotter. Unknown to them, Dr. Hajra survives the fall, though he is forced to rest for a few days to recover from his griveous injuries. Feluda meets Burman, thinking him to be Dr. Hajra. Burman tries to kill him secretly using a poisonous scorpion, but fails. Jatayu joins them and they move around Rajasthan showing various forts (Rajasthan is full of Rajput forts) to Mukul, but none of them are the Golden Fortress. Meanwhile Feluda starts to suspect Mandar Bose after he boasts to Jatayu of having killed a wolf in Africa.
One night, Burman uses his parapsychological background to hypnotise Mukul, when he says that the fort was in Jaisalmer. The next morning, Feluda reaches the same conclusion after remembering that the fort of Jaisalmer was made of golden yellow limestone. However, when he returns to the guest house he finds that Burman has already left. Mandar Bose tells him that Mukul remembered the name of the place to be 'Burmer' (imaginary name). Feluda suspects foul play, and is confirmed when he finds that Burman has misspelled the word Hajra in the attendance register of the guest house. He leaves for Jaisalmer by car, but Mandar Bose leaves first and scatters broken glass on the highway, puncturing the tires of their car.
Feluda takes a camel caravan to the nearest train station, after failing to stop the train carrying Burman and Mukul midway. They take the next train to Jaisalmer. In the night, Mandar Bose tries to stab Feluda, but Feluda was only pretending to be asleep and has him at gunpoint. But suddenly Jatayu tries to recover Mandar Bose's knife, which was stolen from Jatayu. Using Jatayu as a shield he jumps out and hangs onto the side of the train, returning to his compartment. By chance, that compartment is occupied by Mr. Hajra, who frightens the drunk Mandar Bose. A swinging door pushes him out to his death.
The next morning, the three reach Jaisalmer and talk with Dr. Hajra. Then they go to the fort, to find Burman and Mukul searching the ruins. Burman has a phobia of peacocks and tries to shoot one, which angers Mukul into running off. At this point, Feluda confronts and captures him. He also tells him that there never was any treasure, whether rebirth exists or not. They find that Mukul is cured, and return to Kolkata.

A bright and idealistic young graduate steels himself for a dog-eat-dog world, only to flounder in a job market packed with thousands of other hopefuls. When he eventually decides to start his own business as a middle-man, he discovers that the world of business does not live up to his lofty ideals.

记录神奴舞蹈家T.Balasaraswati的婆罗多艺术

This is the second film about the detective Feluda (Soumitra Chatterjee) set in the holy city of Benares, where he (along with his cousin, Topshe and friend, Lalmohan Ganguly) goes for a holiday. But the theft of a priceless deity of Lord Ganesh (the Elephant God) from a local household forces him to start investigation. Feluda comes in direct confrontation with Maganlal Meghraj (Utpal Dutt), a ruthless trader. Maganlal makes the mild-mannered Lalmohan a knife-thrower's target and threatens Felu to stop investigation. But there are several other suspects as an innocent artisan is brutally murdered, a shady 'holy man' holds court on the banks of the Ganges and an adventure-loving little boy (and his grand-father), brought up on crime thrillers. The climax is a shoot-out on the Ganges, followed by the unraveling of the mystery.

The magically musical duo of Goopy Gyne and Bagha Byne make a comeback in this sequel, where they are invited to the court of the Hirak Raja (The Diamond King), for their musical skills. They are to perform at the kingdom's Jubilee Celebrations.
Goopy and Bagha are bored with their lives as crown princes of Shundi and Halla. They are looking for a change, which comes in the form of a chance to visit Hirak Rajya (Land of Diamonds), known for its huge diamond mines. They jocundly set out for Hirak Rajya. But little do they know of the machinations of Hirok Raja (Utpal Dutt). The king is a tyrant. Diamonds and riches get pent up in his treasuries, while his subjects starve and suffer. Those who protest are taken care of in the 'Jantarmantar', a chamber for brainwashing devised by the scientist (Santosh Dutta), whose full name is Gobeshok Gobochondro Gyanotirtho Gyanorotno Gyanambudhi Gyanochuramoni. His ministers are mere puppets. The only enemy the king has in his land is Udayan Pandit (Soumitra Chatterjee). He is a school teacher and, more than that, he is a believer of values. The king forcefully closes his school down. Udayan flees to hide in the mountains.
Meanwhile, Goopy and Bagha are on their way to Hirok Rajya. By coincidence, they meet Udayan, who intimates them of the king's true nature. The two impress Udayan with their magical powers, who plans to use them against the tyrant. Goopy and Bagha agree. The duo then head into Hirok Rajya, where they are welcomed with grandeur. They entertain the rogue king,fooling him into believing that they think he is great. They rob the treasury (which was guarded by a tiger) using their migical music, for bribing the guards.
The king has his tricks, too. He captures Udayan and all his students, and takes them to the Jantarmantar for brainwashing. But Goopy Bagha have already reached there using their magical powers. They have also bribed the Gobeshok onto their side, with the guards. On reaching the laboratory, the king and his ministers are stunned magically by Goopy's singing and then pushed into the Brainwashing machine.

what a beautiful picture, what a great puzzle of poetry. there are many things that can be said about 'Sadgati'.
first of all, men try to succeed but fail in doing so, while women accomplish everything they want to do. women are happy, but become sad because of men. does this mean women do things better than men? this thought is shown with the use of insects: every time a woman does something in the film, we see grand things, like a big pile of mud and an expensive house. every time a man tries something in the film, he is put in the picture with insects close to the work he tries to do. does this mean men are insects? the dust can be Representative for the awareness of the women, who know something bad is going to happen. the big house of the 'bad' woman is full of richness and luxury. does this mean money kills emotion? could be, because the owners of the big house sleep in separate beds. so there's no mention of love in money? money is bad? but if money is bad, why do the poor men die? is poverty a richness? could be, because the real problems are left for the rich men, who will now have to explain why everything went wrong. however, the last image of the film shows us the real 'bad guy': the work itself. there will always be poor people and rich people because of the differences of work. that's not fair. because of that, accidents do happen as in the end of the film. if they should accept each other for who they are and without profits from work, everything would be fine.
with the difference of work, changes in character are important to the story too. the ant works hard and the grasshopper does nothing. it would be great if the ant and the grasshopper would be the same.
because that's the meaning of the picture: acceptance of who we are, knowledge of each others differences and the love of understanding.

1980 film by Satyajit Ray

电影开篇就是一个女人在回忆那件影响并决定了她世界观的事情。多年以前，她的丈夫，一个接受了西方教育的有钱地主，挑战了传统。他让她接受了教育，让她有机会走出那些已婚女人本不可以离开的深宅幽院，让一众保守的亲戚们感到惊愕不已。政府有个大学时期的朋友，是个抵制英国贸易活动的领袖，他的拜访让这个女人参加了政治活动，尽管丈夫给过她警告。随着故事的发展，女人和那个领袖之间不再维持在单纯普通的男女关系之上，政治活动也加剧了穷人和富人，印度徒和穆斯林之间的紧张关系，所有的一切看似都无法如同她最初想的那样平静。（豆瓣电影字幕翻译2.0小组）

The film presents the life and work of the writer Sukumar Ray, Satyajit Ray's father. Ray made this film as a tribute to celebrate the centenary of his birth.

The film is an adaptation of a play by Henrik Ibsen: An Enemy of the People.It is set in a small town in Bengal. Dr. Ashoke Gupta (Soumitra Chatterjee) is the head of a town hospital. Gupta's younger brother, Nisith (Dhritiman Chatterjee), is the head of the committees running the hospital and a temple. Both were built by a local Industrialist. The temple is also a big tourist attraction.
Dr. Gupta is convinced that the holy water of the temple is contaminated due to faulty pipe-laying. It is causing an epidemic in the town. He warns his brother Nisith.
Nisith, the Industrialist and other town officials reject the idea that holy water might be the cause of the epidemic. They refuse to close the temple to carry out the repairs.
Dr. Gupta wants to write an article in the newspaper to warn people, but giving-in to the pressure from the powerful people, the editor refuses to publish it.
Left with no alternative, Dr. Gupta organises a public meeting that is also sabotaged. And Dr. Gupta is proclaimed an enemy of the people.

Ananda Majumdar, a wealthy, retired industrialist, suddenly falls ill during a ceremony in honor of his seventieth birthday. Three of his sons rush immediately to his bedside. The fourth son, Proshanto, already lives with his father. Considered the family failure, he spends his time listening to music and is considered to be mentally ill.
The two eldest sons, who are businessmen, live corrupt lives and do not want their father, an uncompromising moralist who believes in work and honesty, to find out. The youngest of the four, weary of office life, would love to become an actor. During a family meal and a picnic, tensions are accentuated. Waiting for resolution of their father's health crisis, the four brothers and their families reminisce and relive ideological differences.

An well-off Indian family is paid an unexpected, and rather unwanted, visit by a man claiming to be the woman's long lost uncle. The initial suspicion with which they greet the man slowly dissolves as he regales them with stories of his travels, tales that are at odds with their conventional middle class perspective on the world.