La joven pareja

The Householder is a bit dated--filmed in the early 60s--but it bears a message that's rarely seen.

The movie begins with Prem and his young wife discussing a wedding they'll attend. At the wedding, Prem notices that the bride groom seems fretful. He tells the groom that there's nothing to worry about and proceeds to tell the story of his first year of marriage. His memories are shown in flashback and make up almost all of the rest of the movie.

Prem is married to Indu in an arranged marriage. The newlyweds have a difficult time adjusting to married life. Prem faces a host of problems--a low-paying job in which he's bullied by practically everyone, a drunken landlord, a contentious relationship between his mother and his new wife, and impractical advice from his best friend.

Along the way, Prem befriends the aptly-named Ernest, an American spiritual seeker. (Take note of what Ernest is doing when he's introduced--it's a really funny visual pun!) Prem has a lot to sort out, but in the end, he finds happiness.

Prem (Shashi Kapoor), an immature young teacher recently married, is not happy with his even younger wife, Indu (Leela Naidu). She doesn't do things the way his mother does, is more outspoken than he would like, and neither of them have any idea of how to form a working relationship. In a fit of childishness, Prem telegraphs for his mother (Durga Khote) to come, and what seems to spell doom for the marriage, instead works an amazing change.

Based on the novel Gharbar by the movie's screenwriter Ruth Prawer Jhabvala, the Householder is a gentle, beautiful movie, with natural acting and a fully immersible plot. This Merchant Ivory Production was the pair's first collaboration, and yet it shows their now famous style fully formed from the beginning. This character study is a charming drama well worth watching.

A English language Indian film thats simply superb!

A sweet story of a newly married couple set around 60's India. The movie makes you nostalgic, Shashi Kapoor is fantastic. The film is shot in the old delhi and I think the essence of it hasn't changed since then. The movie reminds you of a well made play. The film is very honest in terms of portraying the normal (yet interesting) life of a newly married couple.

I wish there were more Indian movies made like this. Its amazing, a film this old is actually so much more much better, funny, and enjoyable than a lot of the Bollywood movies made today.

Go watch it and relish life.

Well, only if you have some deep psychotic Indian adventure, you'll understand the actual conflict taking place in the main character (a Shashi Kapoor at his best!), as in one of the most typical themes found in the novels of Hermann Hesse: is the spiritual life so much different from the material life? In India as elsewhere too, people left kingdoms to become beggars and realize the Truth; in time some Saints demonstrated realization of the Highest cannot be a consequence of the manner this body lives. This theme is quite complex and convoluted, but here Ivory deals with it in such a fair and light manner; you may even feel to watch a neo-realistic movie, as the environments and characters are dealt with. Tender and at the same time raw, sometime even fun in its small tragedy... Very touching is the sequence when you hear some devotees singing a beautiful sacred Bhajan in the forest to a Saint looking so much as the late Shri J. Krishnamurti, who sings a couplet from Kabir's poetry...

This is a very sensitive and well directed first film by James Ivory, made two years before his famous Shakespeare WALLAH (1965, see my review). Both films star Shashi Kapoor, who had already been acting for some time, as he was aged 25 by this time, though looked younger. The film is based upon a novel by Ivory's future long-term screen-writer collaborator, Ruth Prawer Jhabvala, and she also wrote the screenplay. The cinematographer is Subrata Mitra, the brilliant cinematographer of Satyajit Ray's APU trilogy and numerous others of Ray's best and most famous films, and who was to work with Ivory again on Shakespeare WALLAH. There is no doubt that part of the reason for Ivory's early success was having Mitra at his side, and that the powerful camera work, framing, and lighting were essential to the mood and conviction of the films. Ismail Merchant was the producer, and the music of Ali Akbar Khan and three subsidiary composers is very powerful and evocative of mood as well. The film is made entirely in English. It is an extremely sensitive portrayal of a young Indian couple, living a traditional life on a small income, who have had an arranged marriage and are trying to get along with one another. The film shows how they begin by bickering and mutual annoyance, tinged with dislike, and gradually grow to love one another. It has often been said that Indian couples tend to fall in love after rather than before marriage, and if there be any truth in that, this film shows how it can happen. The young wife is played by the actress Leela Naidu (1940-2009), a beautiful young woman who was at one time Miss India and who had a wonderful acting talent. It is a pity she made so few films. This exquisitely sensitive performance may be her finest lasting testament. Kapoor plays a struggling young teacher, and there are some amazingly comic and poignant scenes in the school where he teaches. The story involves 'the mother in law from hell' turning up to live with the young couple. Brilliantly played by Durga Khote, this self-absorbed, bullying, intolerable creature tries her best to ruin the marriage. For an insight into life in India at this time, and to a large extent today as well, this film is uniquely informative and should be seen by anyone interested in the subject. There are so many fascinating characters, who are so wonderfully portrayed, such as a swami who sits in a grove of trees just like Prince Siddhartha the Buddha once did, and is frequented by people seeking wisdom. There are some crazy, phoney and annoying Americans seeking 'enlightenment', and Ivory, who was himself an American, must have had fun ridiculing those of his compatriots in India who most irritated him. Really, this film is a must-see for anyone interested in these things, and it is a genuine work of art. It heralded what was to turn into the brilliant joint cinematic careers of James Ivory, Ruth Prawer Jhabvala, and Ismail Merchant, who together made many of the most memorable classic films in the entire history of world cinema, encompassing stories set in India, Britain, America, France, and Italy, and immortalizing many of the Henry James and E. M. Forster novels for the screen.