After leaving an indelible mark on the global stage with his pure & poetic The Apu Trilogy, Satyajit Ray brings his restraint touch & deft eye to the more conventional narrative structure in Indian cinema and subverts it from inside out. Jalsaghar aka The Music Room isn't devoid of the musical & dance segments that are a given in most Indian films but instead of serving as mere entertaining interludes, they play an integral role in the plot.
Written, produced & directed by Ray, the film concerns a feudal landlord's passion for music & quest for social respect in the rapidly changing India and his refusal to change with the times that leads to his undoing. Through his dwindling fortunes & decadent lifestyle, Ray attempts to illustrate the contrast between old & new India and the fate that awaits those who cling on to their obsolete past & are unwilling to accept or acknowledge the modern society.
Our protagonist isn't shown in a negative light however. Instead, the film observes his all-consuming obsession with music, pride in his social prestige & envy for his next-door neighbour's increasing fortunes, and how they contribute to his downfall. Chabbi Biswas' performance is nearly flawless, and he brings the ill-fated landlord to life with all his flaws & virtues in tact. Also adding to the experience are opulent set pieces, beautiful camerawork, and neat use of classical Indian music & dance.
Overall, Jalsaghar presents the Bengali filmmaker tightening his grasp around his craft, and is one of his most impressive directorial efforts. Much worthy of broader viewership and having aged like a fine wine, the film's slow pace & overlong finale may not appease everyone but its elegant & authentic portrait of India undergoing an essential transformation after independence and the tragedy of a prideful man who's destroyed by his own hubris makes it an enduring classic of Indian cinema. Thoroughly recommended.
