Pratidwandi

Pratidwandi, or 'The Adversary', is a thought-provoking 1970 Bengali drama film directed by one of India's most respected filmmakers, Satyajit Ray. This film, which stars Dhritiman Chatterjee in his debut role, Asgar Ali and Arabinda Banerjee, is based on the novel by eminent Bengali author Sunil Gangopadhyay. The film, saturated with stark realism and socio-political commentary, was the first in Ray's Calcutta trilogy, followed by 'Seemabaddha' (Company Limited) and 'Jana Aranya' (The Middleman).

Set against the backdrops of mesmerizing Calcutta in the late 1960s, Pratidwandi revolves around a young man named Siddhartha (Dhritiman Chatterjee). A fresh university graduate with a degree in medicine and big dreams in his eyes, Siddhartha is caught in the turmoil of the period – political unrest, unemployment, and the ideological shift of the youth.

Following his father's untimely death, Siddhartha, as the elder son, has to shoulder the responsibility of his family, consisting of his mother and younger siblings, Tunu and Pulu. However, the harsh reality of unemployment in the city compels him to confront his idealism, both personally and politically. He struggles to find a descent job in an increasingly competitive and morally questionable job market, a perseverance that takes a toll on his relationships and ideological beliefs.

In the midst of a declining economy and political unrest marked by the Naxalite movement, his frustration and disillusionment grow. His sanity is constantly challenged by the conflict between his personal set of values and the society's ruthless pragmatism. Dhritiman Chatterjee expertly portrays Siddhartha's internal battle, contributing to the emotional complexity that holds viewers until the end.

Parallel to Siddhartha's journey, his sister Tunu (Indira Devi) and brother Pulu (Tapas Pal) represent other facets of the youth during this time. Tunu is an ambitious young woman who bravely confronts gender stereotypes to climb the social and professional ladder. Pulu, on the other hand, struggles with his academics, making him an embodiment of the directionless youth of the era.

Pratidwandi is enriched by Satyajit Ray's unique cinematic style, combining realist narration with experimental techniques. It's noted for its innovative use of flashbacks, dream sequences, and newsreel footage, providing a stark commentary on the societal and political conditions of Calcutta during the late 60s. Ray's mute commentary on the socio-political situation is symbolic, often shown in sequences with no dialogue, such as the opening scene, which shows a peaceful protest turning violent.

Ace cinematographer Soumendu Roy's black-and-white shots brilliantly capture the mood of a turbulent Calcutta, making the city an essential character in the film. Further, the impactful background score by Satyajit Ray himself adds to the complexity and depth of Pratidwandi. The movie efficiently uses silence for dramatic moments, enhancing the storytelling experience.

Asgar Ali and Arabinda Banerjee also deliver compelling performances in their respective roles, contributing significantly to the storyline. They serve as linkages in the narrative, standing as reflections of the common populace reflecting and reacting to the turmoil, each in their unique way.

This poignant film provides a stark, unflinching look at political unrest, unemployment, and surviving in a deeply flawed system. From a broader perspective, Pratidwandi is a powerful depiction of the ethical challenges of modern society, making it timeless and universally relatable.

In conclusion, ‘Pratidwandi’ is not just a classic film. It is a piece of historical commentary, capturing the spirit of Calcutta during one of its most tumultuous periods. Whether it's Siddhartha's personal journey or the picture of 1960's Calcutta, 'Pratidwandi' takes its viewers on an unforgettable journey that lingers long after the film ends. Pratidwandi is indeed more than a movie; it is a lens, offering a glimpse into a chaotic yet dramatically intriguing post-colonial Indian era.