Shakha Proshakha

Shakha Proshakha / Branches Of The Tree (1990) : Brief Review -

Satyajit Ray distinguishes Honest Money and Dishonest Money in this late days Classic with the use of legendary orchestras of Bach and Beethoven. Another classic from Satyajit Ray's late days and this one is more accurate and relatable to the young generation. Ray made this Classic in the same year he made Ganashatru, which was again, a very relatable film to young generation. And eventually both the films were about Honesty vs Dishonesty. Shakha Proshakha deals with four generations of a well-to-do Bengali family, with a focus on the third generation. A honest and respected old age man living with his mentally unstable son falls ill and his well settled three sons come to see him. A short trip to the house opens up many secrets about their personal lives and the situation sees so many changes when they leave. Even the big cast, Satyajit Ray gives justice to every single character and keeps its importance and value worthy enough. Expectedly, all the actors give justice to their roles with brilliant performances. The screenplay of Shakha Proshakha is very impressive and a learning chapter for many writer that how to line-up things to create that impact and intense atmosphere around the script. That dining table scene and the picnic scene are just fabulous. Just those two scenes and an ordinary looking storyline becomes thought-provoking and eloquent. It teaches us so much about enthics and incorrrupacy that can stay with us for lifetime and if we can put them into practice in our lives then we'll find the peace along with money. Such positive films always amuses me so even if there are one or two faults in the film, i can easily overlook them. Overall, another life lesson by Satyajit Ray and this time with symphonic compositions.

RATING - 8/10*

By - #samthebestest.

This is one of Satyajit Ray's movies shot and released just before he died. Starring Ray regulars who I can say are the Brandos and Pacinos of Bengali cinema this film is one of a kind – Deep and intellectual. It is a story of a family who was hastily assembled together in a colonial mansion by the deathbed of its patriarch who has suffered from a heart attack. The father is an idealist who was a freedom fighter and still is active in politics hoping that something could be done to correct the path the country (India) has taken (post independence) and stem the rot that had set in society. Gathered by his side are his sons who have all carved a distinct path through the maze we call society. Yes! They are successful. But his sense of failure comes from the fact his ideals and values have not seeped into the conscience of his off springs. The film shows the audience why and how that happened. Ultimately it's all about the rot that has set in the moral fabric of his family and his feeling how can he correct the society if he can't instill the same values in his family? This ultimately contributes to his sorrow, frustration and finally his death.

Had this film been a Hollywood project helmed by a A listed director and starring A listed actors this surely would have dominated the Oscars that year. The development of the story is brilliant and so is the direction (its Ray for crissakes) but people who don't like slow moving artsy movies won't share my sentiments. That's for sure. But for connoisseurs of Ray it's a classy picture. Do yourself a favor. Watch it!

A must watch.The negative point ajit (father) and Haradhan banerjee's(son) age .... they are looking like 2 brothers. A good story but it's a bit slow. It's not a masterpiece by Mister Ray. So Don't expect it's as good as Pather Panchali. But it's not bad as Satrang ke Khiladi

Director tried to overcome the prophet BS here, but could not do much. The old Ray anted to make his beliefs and idealism co-existing with the newcomers. If I have something good to say, the star studded cast - Soumitra Chatterjee, Mamata Shankar, Dipankar Dey, Lily Chatterjee, Ranjit Malick, Haradhan Banerjee, Pradip Mukherjee - is one of the good things we get here. Also, the theme of strangers meeting in place - John Carpenter, Quentin Tarantino - did well for this. I found this during re-watch, this was one of the first films of our current film star Soham Chakraborty, just as rememberable as his horlicks licking role in 'Chhoto Bou'.

This is Ray's second last film made when he was just short of seventy. The tree is Ananda Mazumdar, a retired industrialist famed for his honesty and philanthropy, to the extent of having his town named after him. The branches are the four sons and two spouses. Mazumdar suffers a heart attack and as he hovers in the danger zone, the progeny converges around him. Ray is a good spinner of yarns and he knows how to play the heartstrings. Here he gives us a taut drama about old age and family relations with the background of Bengali society of the eighties (there is a family picnic and one of the cars is a Maruti 800).

Unlike some of his more acclaimed films which are about youth and childhood, this one is about aging with which comes cynicism and tolerance. He is able to turn an eye more understanding than indignant towards the corruption and rot in society. This somewhat lame anger is voiced through the youngest of the four sons, who chooses to opt out from the bribe driven business world. Ray was often accused of not being sufficiently concerned about the ills of society. He is after all no activist or reformer: he is a mere genius, an artist and a truthful mirror of the society to which he belongs.

Ray's women are more the expression of his ideals of humanity. The men are more often pathetic shadows, as in this one. Lily Chakravati as one of the wives gives a bold and charismatic portrayal of a woman disappointed in her marriage, with a mind and strength of self acceptance beyond her era and milieu.

This is a more complex film which expands the canvas to depict an era and a society. It achieves a high level of dramatic tension, even though it lacks the compassion and innocence of some earlier movies. It definitely limps at many places, as Ray is affecting a piety not his own. It is not his nature to judge people, as if to say, that might have been me. On the whole, a gripping film for all it's negligible weaknesses, easy and enjoyable to watch.