AGUNTUK (THE STRANGER)

India, 1991, 120 minutes, Colour.
Directed by Satyajit Ray.

The Stranger was the last film written and directed by classic Indian director Satyajit Ray. His career spanned 1955 to 1990 and he produced many classics including the Apu Trilogy, as well as a series of films observing life in India during the 60s and 70s and such films as The Chess Player and Home and the World (based on a story by Tagore) in the mid 80s.

This is a much more simple plot: a wealthy Calcutta family receive news that an uncle who had disappeared in 1955 was returning to visit them. They are wary. However, when he arrives, he is disarmingly charming, explicitly referring to their suspicions and questioning them about them). Some neighbours and visitors come to call out of curiosity. An official comes to cross examine the uncle to find his authenticity.

However, the family come under the sway of the stranger - an almost mystical type with a broad experience of the world outside India. He is the eternal seeker and plans to move on from them to Australia. There is the expected twist at the end.

The film is more theatrical and static, a great deal of talking. However, the film moves gently and is aided by the musical score - composed by Ray himself (as for so many of his films). The film is a portrait of wealthy Calcutta (quite in contrast to the world of City of Joy).

1. The work of Satyajit Ray? 35 years of classic Indian cinema? This film as his epitaph?

2. The world of wealthy Calcutta, homes and offices, the countryside? The class and cast system of India? The colour photography, editing and pace - and the musical score?

3. The film as a fable about family, suspicions and truth? The universal aspects of the fable? The Indian tone?

4. The long prologue and the arrival of the letter, Atila and her reading the letter, her reaction, family bonds? Her husband and his immediate suspicions? The little boy and his eagerness to meet the uncle? The background of the family, the style of the house, its modern conveniences? The establishing of family relationships? The decision about receiving the uncle?

5. The atmosphere of suspicion and the audience sharing it? The wife and her not knowing anything about her uncle, remembering the stories? But wanting to have an uncle? The business like and pompous tones of her husband? The little boy and his directness, especially with the uncle when he arrives? The actor and his wife, the gossip, the performance, leading the uncle on and unmasked? The lawyer and his interrogation, the severity of his tone? The banker? The audience sharing the experience and wondering about the true identity of the uncle?

6. The portrait of the uncle: in the traffic, the taxi to the house, the manner of his arrival, his age, bearing, experience? His charm? Anila and her attraction? The young boy and his delight, talking directly to the uncle? Eating and talking, reminiscing? The bath, the sleep, playing with the boys in the park - the story of eclipses and magic? The husband and his demand for the passport - and the uncle offering it? Then telling him to be suspicious about passports? The visit of the actor and the discussion about theories? The uncle and his background of Greek philosophy and the Dialogues? The interrogator and the discussion, savagery, technology? The uncle and his experiences in Europe, in jungle areas and his admiration for alleged savage civilisations? The ugliness of the U.S. and drugs? His sudden leaving of the home? Going to the country - and the dancing of the natives? His niece joining in and his delight? His courtesies? His experience of people, his bringing the family close together? The irony of their worrying about his stealing from them? And his giving them the money?

7. The build-up to his departure, the inheritance? The gift of the money - and the false identity?

8. Anila and her relationship with her family, bringing up her boy? Her suspicions especially after reading Agatha Christie? Her husband and his class consciousness, ambitions, work, treatment of servants? The phone calls? The scenes between husband and wife, discussions, the bedroom? His visit to the elderly lawyer - and the comedy of the misconstrued and misheard conversation? The visitors and his having to change attitude? Anila and the dance and her delight? Overcome by the cheque? The little boy, the story of the frog, the eclipse and magic, the coins - the gifts?

9. The theme of identity, truth? The Indian story with its background of the past, families, inheritance, leaving home, seeking identity in the world, art and culture?

10. A film for the beginning of the 90s and Satyajit Ray's bequest to Indian audiences?