CHARULATA

Credits
Producer: RDB & Co (R.D. Bansal / (RDB Productions)

Screenplay & Direction: Satyajit Ray form the short novel “Nastanirh” by Rabindranath Tagore

Cinematography: Subrata Mitra

Editing: Dulal Dutta

Art Direction: Bansi Chandragupta

Sound: Nripen Pal, Atul Chatterjee, Sujit Sarkar

Music: Satyajit Ray

Cast
Character: Performer

Charulata (Charu): Madhabi Mukherjee

Amal:( bro) Soumitra Chatterjee

Bhupati:(charu’s husband) Sailen Mukherjee

Umapada:(Helping hand of press) Syamal Ghosal

Mandakini (Manda): Gitali Roy

Braja: (Servant) Bholanath Koyal

Nisikanta: Suku Mukherjee

Sasanka: Dilip Bose

Summary
Charulata is based on a story by Rabindranath Tagore, Nastanirh (The broken Nest)
and set in Calcutta in the late nineteenth century. Bengal Renaissance is at its peak
and India is under the British rule. The film revolves around Charulata / Charu
(Madhabi Mukherjee), the childless, intelligent and beautiful wife of Bhupati (Sailen
Mukherjee). He edits and publishes a political newspaper. Bhupati is an upper class
Bengali intellectual with a keen interest in politics and the freedom movement.

Charu is interested in the arts, literature and poetry. Though Bhupati loves his wife,
he has no time for her. She has little to do in the house run by a fleet of servants.
Sensing her boredom, Bhupati invites Charu’s elder brother Umapada and wife
Manda to live with them. Umapada helps in running of the magazine and the printing
press. Manda with her silly and crude ways is no company for the sensitive and
intelligent Charulata.

Amal (Soumitra Chatterjee), Bhupati’s younger cousin comes on a visit. Bhupati asks
him to encourage Charu’s cultural interests. Amal is young, handsome and is of the
same age group as Charu. He has literary ambitions and shares her interests in
poetry. He provides her with much needed intellectual companionship and attention.
An intimate relationship develops between Charulata and Amal. There is a hint of
rivalry when she publishes a short story on her own without his knowledge. He
realizes that Charulata is in love with him but is reluctant to reciprocate due to the
guilt involved.

Meanwhile, Charu’s brother and sister-in-law who were guests in the house swindle
Bhupati of his money and run away. It destroys Bhupati’s newspaper and the press.
The episode shatters Bhupati who admits his hurt to Amal. He tells Amal that now
Amal is the only one he can trust.

Amal is overcome with guilt of betraying his cousin. He is also uncomfortable with
Charu’s higher intellect that he has helped nurture. He leaves unannounced, to
marry and go away to England for higher studies. He leaves behind a letter to Charu.

Charu is heartbroken but hides her disappointment. Bhupati accidentally enters her
room and finds her crying over Amal. Bhupati realizes Charu’s feelings for Amal. He
is broken, shocked and bewildered by it.
He rushes out of the house, wanders aimlessly in his carriage. On his return, Charu
and Bhupati make a hesitant gesture to reach out, but their extended hands remain
frozen in a tentative gesture.

Comments

Charulata (The Lonely Wife) was Ray’s twelfth feature film. It was also the director’s
favorite. Ray described the film as the one which has the least defects. In an
interview with ‘Cineaste’ magazine, when asked about his most satisfying film, Ray
said, “Well, the one film that I would make the same way, if I had to do it again, is
Charulata.”

Certain details, such as references to and use of Bankim Chandra Chatterjee the
most popular Bengali novelist of the period, bits of songs, literary allusions, etc. may
be missed by the western audience. But the film works on many levels and like most
Ray films, Charulata is universal in its appeal.

In Charulata as in Ghare Baire (The Home and the World, 1984), Satyajit Ray
explores the emergence of the modern woman in the upper-class of colonial India.
One can not help drawing parallels with Ibsen’s A Doll’s House.

The context is suggested by important details. The opening sequence is a piece of

cinematic poetry. We see the young wife Charulata moving from one window to
 another in her house. She observes the activities of the outside world through the
window blinds using opera glasses. She is like a caged bird in her mansion. We
sense her curiosity and desire to know the outside world.

As she moves to the interior corridor of the house, we see her intellectual husband.
He is too engrossed in a book and walks past her without even noticing her
presence. She watches him as he walks away and stands reading. Charu raises her
opera glasses and looks again as if he too belongs to the outside world. As Bhupati
disappears from the view, she is expressionless and lets the opera glasses slip
down. The camera is pulled back sharply, “like a flourish with a pen at the end of an
essay …” in Ray’s words. Without a dialogue being spoken, we know Charulata is
condemned to her loneliness and boredom.

Ray conveys the innermost feelings and thoughts of his characters without any
dazzling technique and with minimal dialog. An another wonderful sequence is the
swing sequence in the garden. In this scene Charu, who has been resisting her
feelings for Amal, gives in and admits her love to herself. It is about eight-minute
long sequence with almost no dialogue. With innovative camera and narrative style,
Ray depicts Charu’s state of mind and her dilemma.

In the final sequence, as Bhupati returns home after wandering aimlessly, Charu
opens the door. Gently and with hesitation, she asks him to enter. A wavering
Bhupati enters the door and reaches toward her hand. The shot is frozen and is
followed with still images of Charu’s half-lit face, Bhupati’s half-lit face, a servant
holding a lamp, a mid-shot of Charu and Bhupati and finally a long-shot of them. As
the music rises the words “Nastanirh” (Bengali, The Broken Nest) fill the screen. It
was ray’s cinematic answer to Tagore’s original ending in which Bhupati has to go
out of town and Charu asks him to take her with him. He hesitates to which Charu
says “Thak” meaning “Let it be”. As Ray explained later, it was his visual equivalent
of the word “Thak”. “The two are about to reconcile and then prevented from doing
so.”

All the interiors were shot in studio. The sets are meticulously researched and
detailed to create an authentic atmosphere. All the three major characters –
Charulata played by Madhabi, Amal played Soumitra Chatterjee and Bhupati played
by Sailen Mukherjee – have performed brilliantly.

Madhabi Mukherjee appeared in two other films of Ray: Mahanagar (The Big City,
1963) and Kapurush. (The Coward, 1965).

The film has an understated background score by Satyajit Ray.

Awards

 President’s Gold Medal, New Delhi, 1964

 Silver Bear For Best Direction, Berlin, 1965
 Catholic Award, Berlin, 1965
 Best Film, Acapulco, 1965
18 mins – making editorial against British Gov and telling Amal why he should not write
against them

29 min – talks against the British Gov again and talks about Literature vs Politics

CINEMATOGRAPHY
Charulata is a critically acclaimed Bengali film directed by Satyajit Ray, which was released in 1964.
The film is based on the novella Nastanirh (The Broken Nest) by Rabindranath Tagore. The
cinematography of Charulata is considered one of the highlights of the film, and it played a crucial
role in bringing the story and characters to life. In this essay, I will explore the cinematography in
Charulata and its impact on the film's storytelling.

The cinematography in Charulata is masterful, with Satyajit Ray himself serving as the
cinematographer. The film is shot in black and white, which adds to the overall tone of the film and
creates a sense of nostalgia and timelessness. The film was shot in black and white and in a 1:33:1
aspect ratio. Mitra's camera work in the film is characterized by his use of long takes, intricate
camera movements, and a masterful control of light and shadow. The camera work is fluid and often
emphasizes the intimacy of the characters' interactions, especially in scenes where Charulata is
alone or with her lover, Amal.

One of the most striking aspects of Charulata's cinematography is the use of close-ups. Ray often
frames his shots tightly around the characters' faces, emphasizing their expressions and emotions.
This technique is particularly effective in conveying the inner turmoil of the film's protagonist,
Charulata. In one scene, for example, we see Charulata's face as she watches her husband, Bhupati,
and his friend Amal engrossed in conversation. The close-up reveals the conflicting emotions that
Charulata is experiencing, as she is both jealous of their intellectual connection and attracted to
Amal's youthful energy.

In addition to close-ups, Charulata also features a number of long takes, or extended shots that last
several minutes. These shots are used to create a sense of intimacy and realism, as they allow the
audience to observe the characters' interactions without any interruptions. One notable example of
a long take is the scene in which Charulata and Amal play a game of badminton. The camera follows
the action from a distance, as the two characters move around the courtyard and exchange shots.
This extended take not only showcases the actors' physical abilities but also emphasizes the growing
connection between Charulata and Amal.

Another important aspect of the film's cinematography is its use of framing and composition. Mitra
often frames the shots in such a way that the characters are positioned in the foreground, while the
background is slightly blurred. This technique creates a sense of depth and dimensionality, making
the scene appear more realistic. Additionally, the film's composition often includes empty space
around the characters, emphasizing their isolation and loneliness. Mitra frequently uses doors,
windows, and other architectural elements to frame his shots, creating a sense of depth and
perspective. He also uses diagonal lines to create dynamic compositions that draw the viewer's eye
through the frame. In one scene, for example, Charulata is seen through a window as she watches
her husband and brother-in-law playing a game outside. The diagonal lines created by the window
frame and the movement of the players create a sense of tension and conflict in the scene.

The film's use of camera movement is also significant. Mitra often employs the use of tracking shots,
where the camera moves along with the characters. This technique creates a sense of movement
and dynamism, making the scene appear more lively. Additionally, in scenes where the characters
are having conversations, Mitra often uses shot-reverse-shot technique, where the camera switches
back and forth between the characters. This technique creates a sense of intimacy, allowing the
audience to feel as if they are part of the conversation.

Another notable aspect of Charulata's cinematography is the use of mirrors and reflections.
Throughout the film, we see characters reflected in mirrors and other reflective surfaces, such as
windows and water. This technique is used to create a sense of duality, as the characters' inner lives
are often at odds with their outward appearances. For example, in one scene, we see Charulata
looking at herself in the mirror, as she tries on different outfits. The reflection emphasizes her
beauty and elegance, but it also reveals her inner emptiness and dissatisfaction.

Mitra's use of lighting is also noteworthy. Throughout the film, he employs a variety of lighting
techniques to convey mood and atmosphere. For example, in scenes where Charu is feeling sad or
lonely, Mitra uses dim lighting and shadows to create a sense of melancholy. In contrast, in scenes
where Charu is feeling happy or content, he uses bright lighting to convey a sense of joy and
warmth. Lighting is also used to great effect in Charulata. Ray often uses natural light, such as
sunlight streaming through windows, to create a sense of warmth and intimacy. In contrast, he uses
harsh, artificial light in scenes where the characters are in conflict or experiencing emotional turmoil.
For example, in the scene where Charulata confronts Amal about his feelings, the lighting is harsh
and the shadows are deep, emphasizing the tension between the two characters.

Charulata's cinematography also makes use of contrast and color to create visual interest. The film's
black-and-white cinematography is used to create a timeless and classic feel, but the use of contrast
and shadows adds a sense of depth and texture to the images. For example, in one scene, we see
Charulata and Amal sitting together on a bench, with the sunlight filtering through the trees. The
interplay of light and shadow creates a striking image that captures the characters' sense of intimacy
and connection.

In conclusion, Charulata's cinematography is a master class in visual storytelling. Satyajit Ray's use of
close-ups, long takes, reflections, contrast, and color all work together to bring the film's characters
and story to life. By emphasizing the characters' inner lives and using visual techniques to create a
sense of intimacy and realism, Charulata remains a timeless classic of Indian cinema.

Q-> How Charulata movie has shown the Bengal Renaissance through its
cinematography?
 Charulata is a film that is set in the 19th century during the Bengal Renaissance, a period
of great cultural, intellectual and social awakening in Bengal. Through its cinematography, the film
effectively captures the essence of the Bengal Renaissance, showing the changing values and
aspirations of the people of Bengal during that time. In this essay, we will explore how the
cinematography of Charulata has depicted the Bengal Renaissance.

The cinematography in Charulata reflects the spirit of the Bengal Renaissance in several ways.
Firstly, the film is set in the late 19th century, during the height of the Bengal Renaissance. The film's
period setting is captured through the use of authentic props, costumes, and sets that transport the
viewer back in time. The film also features the Bengal Renaissance's distinctive architecture, with its
mix of European and Indian styles, which is showcased through the use of framing and composition.

The cinematography in Charulata captures the social and political milieu of the Bengal Renaissance.
The film is set against the backdrop of the Indian independence movement, and the characters
frequently discuss the political and social issues of the day. The film's use of natural light, such as the
early morning sunlight that filters through Charulata's window, evokes the sense of hope and
optimism that characterized the Bengal Renaissance.

One of the ways in which the cinematography of Charulata shows the Bengal Renaissance is through
its depiction of the changing role of women in society. The film centers around the character of
Charulata, a young woman who is intelligent, educated and independent-minded. The camera
frequently lingers on her face and her expressions, highlighting her intelligence and emotional
depth. This emphasis on Charulata's character is a reflection of the changing social attitudes towards
women during the Bengal Renaissance, where women were encouraged to take an active role in
society and become more independent.

Another way in which the cinematography of Charulata depicts the Bengal Renaissance is through its
portrayal of the relationship between art and society. The film features several scenes that show
the importance of literature, music, and other forms of art in the lives of the people of Bengal during
that time. For example, the camera follows Charulata as she reads books, writes poetry, and listens
to music. Through these scenes, the film shows how art was used as a means of self-expression and
as a way to explore new ideas and perspectives.

The cinematography of Charulata also depicts the Bengal Renaissance through its portrayal of the
changing relationship between the British colonial rulers and the people of Bengal. The film is set
during a time when India was under British rule, and the film's characters frequently interact with
British officials and soldiers. The camera frequently shows the differences between the two cultures,
with the British characters being depicted as formal and reserved, while the Bengali characters are
shown as more emotional and expressive. Through these scenes, the film shows how the Bengali
people were beginning to assert their own identity and challenge British cultural dominance during
the Bengal Renaissance.

Finally, the cinematography in Charulata captures the humanism and universalism that were at the
heart of the Bengal Renaissance. The film's use of long takes and camera movements, such as the
scene where Charulata watches her husband and brother-in-law playing a game outside, emphasizes
the interconnectedness of human beings and their shared humanity. The film's message of the
importance of creative expression, the pursuit of knowledge, and the power of human connections
echoes the values of the Bengal Renaissance.

Finally, the cinematography of Charulata depicts the Bengal Renaissance through its use of natural
imagery. The film features several scenes that show the natural beauty of Bengal, including lush
green fields, blooming flowers, and flowing rivers. These scenes are used to create a sense of
harmony and balance, and to emphasize the connection between nature and human society.
Through these scenes, the film shows how the people of Bengal during the Bengal Renaissance were
rediscovering their connection to the natural world and using it as a source of inspiration and
renewal.

In conclusion, the cinematography of Charulata effectively captures the essence of the Bengal
Renaissance, showing the changing values and aspirations of the people of Bengal during that time.
Through its portrayal of women, art, colonialism, and nature, the film shows how the people of
Bengal were rediscovering their identity and asserting their place in the world. The result is a
timeless masterpiece of Indian cinema that continues to inspire filmmakers and audiences to this
day.

Q-> What are the difference between Nashtanirh book by Ragore and
Charulata movie by Ray?
"Nashtanirh" is a novella by Rabindranath Tagore, while "Charulata" is a film adaptation of the same
story directed by Satyajit Ray. Both the novella and the film deal with similar themes, but there are
some significant differences between the two. In this essay, we will explore the differences between
Nashtanirh and Charulata.

One of the main differences between the two is their approach to storytelling or narrative
structure. The novella follows a traditional third-person narrative, while the film uses a more
subjective, first-person perspective, with much of the story being conveyed through Charulata's
point of view. The novella is told from the perspective of the protagonist, Bhupati, and focuses on
his internal struggles and his attempt to save his failing marriage. The film, on the other hand,
explore Charulata's inner world and emotions in a more nuanced way than the novella, which is
more focused on external events and character interactions. Ray's adaptation explores Charulata's
feelings of isolation, her unfulfilled aspirations, and her complex relationship with her husband.

One of the main differences between the two is the way they depict the inner world of the
protagonist. In the novella, the story is told through the eyes of Bhupati, the husband of Charulata.
The reader is given insight into his thoughts and emotions, which helps to create a complex and
multi-layered character. In contrast, the film focuses more on Charulata herself, and the audience is
given a deeper understanding of her inner world. This allows for a more nuanced exploration of her
character and her journey of self-discovery.
Another difference between the two is their treatment of the characters. In the novella, the
characters are portrayed in a more subdued and understated manner, with their emotions and
motivations being hinted at rather than explicitly stated. The film, on the other hand, is more overt
in its characterization, with the characters expressing their feelings and desires more openly.
Charulata, in particular, is portrayed in a more complex and multi-dimensional way in the film than
in the novella, where she is depicted more as a symbol of the changing role of women in society.

Another significant difference between the two is the portrayal of the relationship between
Charulata and her brother-in-law, Amal. In the novella, the relationship between the two is more
overtly sexual, with Bhupati suspecting that they are having an affair. However, in the film, the
relationship is more subtle and ambiguous, with the audience left to interpret their interactions and
gestures. Ray uses visual cues and subtle gestures to convey the emotional depth of their
relationship, creating a more complex and nuanced portrayal of their feelings for each other.

The setting of the story is also depicted differently in the novella and the film. In the novella, the
story is set in a wealthy Bengali household in the early 20th century. The household is a symbol of
the decaying aristocracy of the time, and the story is a critique of the social and cultural norms of
that era. In contrast, the film is set in the 19th century and focuses more on the intellectual and
artistic achievements of the Bengal Renaissance. The setting of the film is more celebratory and
optimistic, reflecting the changing aspirations and values of the time.

Finally, the two works also differ in terms of their style and tone. The novella is written in a more
naturalistic style, with detailed descriptions of the characters and their surroundings. The tone of the
novella is melancholic and introspective, reflecting the inner struggles of its characters. In contrast,
the film has a more stylized and formal aesthetic, with carefully crafted visuals and a musical score
that enhances the emotional impact of the story. The tone of the film is more romantic and
idealistic, reflecting Ray's admiration for the intellectual and artistic achievements of the Bengal
Renaissance.

In terms of themes, the novella focuses more on the social and political context of the story,
exploring themes such as nationalism, gender roles, and the conflict between tradition and
modernity. The film, on the other hand, is more concerned with the personal and emotional journey
of its characters, exploring themes such as love, desire, and self-discovery.

In conclusion, Nashtanirh and Charulata are two works that deal with similar themes but have
distinct differences in terms of their characterization, setting, style, and tone. While the novella is a
more naturalistic and introspective work that critiques the social and cultural norms of the time, the
film is a more stylized and romantic celebration of the intellectual and artistic achievements of the
Bengal Renaissance. Both works are important contributions to the legacy of Rabindranath Tagore
and Satyajit Ray, and have had a significant impact on Indian literature and cinema.

Q-> Comment on Satyajit Ray's depiction of Charulata as New Woman.

 Satyajit Ray's 1964 film Charulata is a poignant exploration of the life of a Bengali woman in
the late 19th century. The film offers a nuanced portrayal of the titular character, Charulata, as a
 "New Woman" struggling to find her place in a patriarchal society. Through the character of
Charulata, Ray provides a critique of the social norms and gender roles that governed Bengali
society in the late 19th century.

One of the most striking aspects of Charulata's character is her intellectual curiosity and artistic
talent. Unlike most women of her time, Charulata is not content with just running a household or
being a dutiful wife. Instead, she is deeply interested in literature, and she spends much of her time
reading books and writing articles for her husband's newspaper. She is also a talented artist, and her
sketches and paintings reveal a sensitive and observant mind. Charulata's intellectual pursuits and
artistic talents are a clear indication of her desire to break free from the confines of traditional
gender roles and to explore her full potential as an individual.

Despite her obvious talents and passions, Charulata is still very much bound by the societal
expectations placed upon women of her time. Her husband, Bhupati, is a liberal-minded intellectual
who encourages Charulata's interests, but he ultimately fails to understand her needs and desires.
Bhupati's relationship with Charulata is one of intellectual companionship rather than emotional
intimacy, and Charulata yearns for a deeper connection with her husband. This unfulfilled desire for
intimacy and emotional fulfillment is a central theme of the film, and it underscores the limitations
that women faced in a society that prioritized male intellectual pursuits and relegated women to the
margins.

Charulata's attempts to find fulfillment outside of her marriage ultimately lead her into a dangerous
liaison with her husband's cousin, Amal. Amal is a charming and witty young man who shares
Charulata's intellectual interests, and their relationship quickly deepens into a passionate love affair.
However, the affair is ultimately doomed by the social and cultural constraints of the time.
Charulata's reputation is irreparably damaged by the affair, and she is left to suffer the
consequences of her actions alone.

Ray's depiction of Charulata as a "New Woman" is a complex and nuanced one. On the one hand,
Charulata is a symbol of female empowerment and agency. She is a strong and independent woman
who is not afraid to pursue her intellectual interests and artistic passions, and she is willing to take
risks in order to find fulfillment and happiness. However, on the other hand, Charulata is also a tragic
figure, a woman who is ultimately unable to escape the confines of her gender and social status. Her
affair with Amal is not a triumph of female liberation but rather a manifestation of her frustration
and desperation in the face of a society that denies women agency and self-determination.

In conclusion, Satyajit Ray's Charulata is a powerful and thought-provoking film that offers a complex
and nuanced portrayal of a "New Woman" struggling to find her place in a patriarchal society. Ray's
depiction of Charulata as an intellectual and artistic woman who yearns for emotional fulfillment and
a deeper connection with her husband is a powerful critique of the gender norms and social
constraints that governed Bengali society in the late 19th century. Charulata's tragic story is a
reminder that even the most talented and empowered women were often powerless in the face of
deeply ingrained societal prejudices and cultural norms.

Or
Satyajit Ray's Charulata portrays the titular character as a "New Woman" who is grappling with the
challenges of finding her own identity and fulfilling her intellectual and artistic aspirations in a
patriarchal society. Charulata is portrayed as an intelligent and curious woman who is not content
with the traditional roles assigned to women in her society. She is a voracious reader and a talented
artist, who yearns for intellectual companionship and emotional intimacy.

However, Ray's portrayal of Charulata is not without nuance. Despite her independence and agency,
Charulata is also depicted as a tragic figure who is ultimately unable to escape the societal
constraints that limit her possibilities. Her illicit affair with her husband's cousin, Amal, highlights the
limits of female liberation in a society that is deeply patriarchal and that values male intellectual
pursuits over female agency and self-determination.

Overall, Ray's depiction of Charulata as a "New Woman" is a nuanced and powerful critique of the
gender norms and social constraints that governed Bengali society in the late 19th century.
Charulata's struggle for self-determination and fulfillment is a reminder that women have always
faced formidable obstacles in their pursuit of agency and autonomy, and that even the most
talented and empowered women have often been powerless in the face of deeply ingrained cultural
prejudices and social norms.

Or

Satyajit Ray's Charulata is a masterpiece of Indian cinema, which portrays the life of a young woman
in the 19th century Kolkata. The film explores the themes of gender, identity, and social status,
through the character of Charulata, who is considered as a "New Woman" in the Indian society.
Charulata's portrayal in the film can be seen as a reflection of the changing role of women in the
Indian society during the late 19th century.

Charulata is depicted as a woman who is educated, intelligent, and has a creative mind. She is shown
to have a keen interest in literature, poetry, and music, which are considered as male-dominated
domains in the Indian society. Charulata is also depicted as a woman who is not afraid to express her
opinions and desires, even if they go against the norms of the society. For instance, she openly
expresses her love for her brother-in-law Amal, which is considered as taboo in the Indian society at
that time.

In the film, Charulata's relationship with Amal is portrayed as a symbol of her rebellion against the
patriarchal norms of the society. She finds solace and intellectual stimulation in Amal's company,
which is lacking in her relationship with her husband Bhupati. Through her relationship with Amal,
Charulata finds a way to break free from the limitations imposed on her as a woman in the Indian
society. She also finds a way to assert her independence and express her creativity, which is stifled in
her domestic life.

Charulata's portrayal as a "New Woman" in the film is also reflected in her appearance and clothing.
She is shown to wear Western clothing, which is a symbol of modernity and freedom. Her hairstyle,
makeup, and jewelry also reflect her desire to break away from the traditional norms of the Indian
society. Charulata's appearance and clothing are a manifestation of her desire to assert her identity
as an independent woman, who is not defined by her roles as a wife or a daughter-in-law.

However, Charulata's portrayal in the film is not without its limitations. Despite her intelligence,
creativity, and independence, she is still defined by her relationships with men. Her rebellion against
the patriarchal norms of the society is only possible through her relationship with Amal, who is also a
man. In this sense, Charulata's portrayal can be seen as reinforcing the idea that a woman's
liberation is only possible through her relationships with men. This is a limitation of the film's
portrayal of Charulata as a "New Woman."

In conclusion, Satyajit Ray's Charulata is a powerful portrayal of a "New Woman" in the Indian
society of the late 19th century. Charulata's intelligence, creativity, and independence are a
reflection of the changing role of women in the Indian society at that time. Her relationship with
Amal is a symbol of her rebellion against the patriarchal norms of the society. However, Charulata's
portrayal in the film is not without its limitations, as she is still defined by her relationships with
men. Despite these limitations, Charulata remains an important film in the history of Indian cinema,
which continues to inspire generations of filmmakers and audiences alike.