Production[ edit ] Satyajit Ray wrote a script for Ghare Baire in the s, but the film, which was to have been directed by Harisadhan Dasgupta , was never made. Years later, Ray returned to his script and reworked it, describing the original version as "amateurish". Victor Banerjee had also worked with Ray in Shatranj ke Khilari. Swatilekha Chatterjee , however,was a stage actress with the theatre group Nandikar, with no experience of acting in films.
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The Rally[ edit ] Near the beginning of the novel, Nikhil brings his wife Bimala to a political rally in an attempt to get her to join the outside world and get in touch better with "reality. This event not only changes her opinion of Sandip, but affects her entire outlook on her life both at home and in the outside world.
While in the act of stealing 6, rupees, she comes to a realisation of the terrible crime she is committing, "I could not think of my house as separate from my country: I had robbed my house, I had robbed my country.
For this sin my house had ceased to be mine, my country also was estranged from me" This represents a character turning point for Bimala: While in the act of thieving, she realises that Sandip is not only corrupting and robbing the nation, but encouraging her and others to do the same.
Ultimately, she ends up giving the money to Sandip and receives unceasing praise from both Sandip and Amulya for her newly recognised sin. However, Bimala realises that she has made a mistake by stealing the money from Nikhil and attempts to have Amulya pawn off some of her jewellery to replace the money.
Amulya attempts to give the box back, but Sandip steals it and gives it back himself. This event allows both Amulya and Bimala to see that Sandip is concerned only with himself, thus allowing them to break free from part of his web.
It is during this time that Bimala realises her power over Sandip by being able to easily make him jealous. Nationalism[ edit ] While the entire novel centres around the Swadeshi movement, the author of the novel is not advocating it but rather warning his audience of the dangers of such a movement.
Tagore knows that it is possible for even a seemingly peaceful movement to turn quickly into aggressive nationalism. Such a change would do the country more harm than good. The character named Sandip is the vivacious and ardent leader of Swadeshi. He knows that his movement has the potential to turn ugly.
He fervently believes however that freedom must be achieved no matter the cost. The story tells of the Hindu Lord Krishna advising Arjuna to perform his duty as a warrior regardless of the result. The use of excerpts from the Indian epic poem was indicative of the blending traditional elements of Indian culture with the ideals and goals of modern Indian Independence movement. Nationalism is also expressed through the rejection of foreign goods, which was a part of the Swadeshi movement.
Sandip was strongly against the sale of foreign goods as Bimala stated that "Sandip laid it down that all foreign articles, together with the demon of foreign influence, must be driven out of our territory" Nikhil on the other hand felt the opposite.
He stated that in terms of banishing foreign goods from his Suskar market that he "could not do it" and he refused to "tyrannize" Bimala even pleaded with her husband to "order them to be cleared out!
She also stated that banishing foreign goods "would not be tyranny for selfish gain, but for the sake of the country" Tradition vs modernism[ edit ] As the title suggests, a major theme is the relationship of the home with the outside world.
Nikhil enjoys the modern, western goods and clothing and lavishes Bimala with them. However, Bimala, in the Hindu tradition, never goes outside of the house complex. Her world is a clash of western and traditional Indian life.
She enjoys the modern things that Nikhil brings to her, but when Sandip comes and speaks of nationalism with such fire, she sees these things as a threat to her way of life. She is part of the country, but only knows the home and her home is a mix of cultures. She is torn between supporting the ideal of a country that she knows she should love, or working toward ensuring that her home, her whole world, is free from strife and supporting her husband like a traditional Indian woman should.
Bimala is forced to try to understand how her traditional life can mix with a modern world and not be undermined. This theme ties in with the nationalism theme because it is another way that Tagore is warning against the possibility that nationalism can do more harm than good. Sandip vs. Nikhil[ edit ] Nikhil and Sandip have extremely different views for the growth of the nation.
Nikhil demonstrates these beliefs in marrying Bimala, a woman considered "unattractive" as a result of her dark skin color. In the novel, Nikhil talks about disliking an intensely patriotic nation, "Use force? But for what? Can force prevail against Truth? On the other hand, Sandip has contrasting views for the growth of the nation believing in power and force, "My country does not become mine simply because it is the country of my birth.
It becomes mine on the day when I am able to win it by force". Unfortunately for Nikhil, he has already tried to show Bimala the outside world, and stir some sort of emotion within her since the beginning of the novel, and failed. Sandip possesses great oratory skill that wins Bimala over simply because of his passion and ferocity, something that her husband may lack. Illusions[ edit ] The constant forming of illusions in the novel grows to be a major recurring theme.
Sandip tends to create illusions that almost always have negative effects on his followers and on the nation of Bengal. He builds an illusion of his beliefs that sucks the people of Bengal into a sort of cult.
His illusion is complete sovereignty, free of all other worlds, and an endless supply of wealth and self enjoyment. This illusion, as many are, is a fake and a lie. It ultimately sells these people a front row ticket to watch their nation fall into complete chaos and civil war between people with different beliefs.
He constructs an illusion for Bimala to believe, saying she is the future, women are the future, they are the chosen path to salvation.
Bimala builds an illusion that she is to blame for this war, it is solely her doing. That she has done all wrong and no right. She refuses to accept that she too was a victim of " Bande Mataram ". I have passed through fire. What was inflammable has been burnt to ashes; what is left is deathless. I have dedicated myself to the feet of him, who has received all my sin into the depths of his own pain. Truth[ edit ] In more than one way, this novel is a comparison of different views of truth.
Nikhil maintains an idealistic view of the world while Sandip takes a radical, nature-worshiping view. Bimala as well must compare truths. Through her interactions with Sandip, she is introduced to the truth of " shakti " female power , yet her life with Nikhil is centred on the truth of conjugality. Each of these instances is a comparison of truth as being something simply objective to being something with a more spiritual or moral dimension.
Love and union[ edit ] From the first page of the novel, the love and union between Nikhil and Bimala is illustrated as something sacred. Nikhil proved throughout the story that he was undeniably devoted to his wife. He proved this first by marrying a woman who hailed from a poor family, along with accepting her darker skin. He made great effort to not only educate her, but also for her to understand her place in the world and not just her place in the captivity of their house.
He shows his love by giving her freedom. Bimala also adores her husband, but in a less material manner. However, as, the story progresses, Bimala is slowly overcome by her feelings for Sandip. Her deep desire for Sandip led her to completely break her sacred union with Nikhil, going as far as to steal money from her household funds. Sandip shows his love for Bimala through idolisation. This idolisation comes about due to her freedom, though.
This story tests the boundaries of the union of marriage. It stretches and twists it to the point where a 9-year marriage is nearly destroyed simply because of a raw temptation. It is key to notice that an indirect evaluation of the role of women is seen in this novel also, in a very subtle manner. In the society described, Bimala, like most women, blindly worships her husband.
When she is caught doing this act of reverence, her reaction is, "That had nothing to do with merit. This scene shows the average woman in this society who believes love will happen and worship is a given in a marriage. She blindly respects her husband without understanding or having a grasp of who he is.
This line shows how there is a strong disconnect and there is no place, usually, for a woman in real world conversations. These indirect references and descriptions are quite frequent throughout the novel and clearly allows the reader to get a sense of what women were subject to and their overall role in the society.
Religion versus nationalism[ edit ] One major theme in the novel is the importance of religion on the one hand and nationalism on the other. In this novel, religion can be seen as the more "spiritual view" while nationalism can be seen more as the "worldly view.
Sandip believes that this outlook on life, living in a way where one may follow his or her passions and seek immediate gratification, is what gives strength and portrays reality, which is linked to his strong belief in nationalism. To Sandip, reality consists of being "gross", "true", "flesh", "passion", "hunger, unashamed and cruel" Tagore He believes that it is, "a part of human nature to try and rise superior to itself", rather than living recklessly by acting on instinct and fleshly desires Tagore Nikhil argues that a person must learn to control his or her passions and "recognize the truth of restraint" and that "by pressing what we want to see right into our eyes we only injure them: we do not see" Tagore All these moral precepts tie in with his faith.
Nikhil also speaks from a more religious perspective when he speaks of how "all at once my heart was full with the thought that my Eternal Love was steadfastly waiting for me through the ages, behind the veil of material things" Tagore This shows that Nikhil does not live morally just for the sake of trying to be good, but that it is grounded in his religious views.
Sandip reiterates the fact that in their country, they have both "religion and also our nationalism" and that "the result is that both of them suffer" Tagore It was also nominated for the Golden Palm award, one of the highest awards received at the Cannes Film Festival. It was later released in the United States on 21 June The scriptwriters were Satyajit Ray writer and Rabindranath Tagore novel.
Ghare-Baire: Bimala’s Transgression Of Boundaries Between The Home And The World
Ghore Baire By Rabindranath Tagore