Hellen I like the storyline of this show,it attract me so much

Grimerlana Plenty to Like, Plenty to Dislike

Deanna There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

Jakoba True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

biswanathdas86 Aranyer Din Ratri; this remind me the first tour I have with my friends. And believe me when I'm saying; it was hilarious! That's the spirit and effect beholds one after watching this movie. The film was made in an era where the 3-4 friends geared up for a bumpy fun-ride weren't invented. Thought it blended the freshness of youth and the complex relative relations between them and their surroundings. Here Ray masterfully achieved the characterizations, as there are several to notice (or even follow). Ashim, the main male of this story rapidly changes his reactions as the story rolls. On the other hand Shekhar (played by Rabi Ghosh) is the only caste for the uniqueness and some comic relief; His character represents the rapidly decreasing moral thoughts as the environment changed. The treatment for this kind of story needs a constant vigilance, and Ray did it. Finally the spot they hung up to - Palamou, was a treat for the eyes, as well as the key element. Originality of these characters only burst out into the wild. Here I want to quote Ashim: 'Rag koris na; Kolkata r baire ele lokeder boyas ta kome jay' (Don't mind; people feel younger when they goes out from Kolkata)... It's really a top notch, yet under praised!!! 9 out of 10.

Muntasim Tanvir As a passionate movie buff, I have the highest regard for Ray's films. That has been reconfirmed after watching this subtly nuanced film from Ray. To the casual viewer, it might seem like the escapades of four middle class gentlemen when they go out of their constrictive surroundings into the wilderness and meet three women. However, a rigorous viewing will expose different layers, some surprising, and others not so surprising. With flawless and fluid direction, Ray tells a story of love lost, confidence regained, inhibitions of a conservative society blown away, overwhelming sadness, and the joy and freedom of coming close to nature. Even though it is quite an old film, it speaks of the human nature and its eternal characteristics so beautifully, that it does not seem dated at all- which is the mark of a classic. Highly recommended.

Ravenus ARANYER DIN RATRI – Satyajit Ray**MAY contain spoilers** (but it's not a mystery film so...)ADR is a beautiful chamber piece from a director who does this sort of thing very well.The opening sequence shows a motley quartet going on a holiday road trip to a forested area. They are friends, but each coming from a separate milieu and with a different temperament: Ashim (Soumitra Chatterjee, the lead in many of Ray's films), a suave and successful executive, is the unofficial leader. The neat and shy Sunjoy is a conventional pen-pusher tied to the mores of middle-class existence. Hari, a cricketer is short tempered and impulsive, while an unemployed Shekhar is the joker of the group. They halt en route at a vacant government guest house, where they intend to spend a few days. The film chronicles this interval, giving us an insight into the character of these men and the interaction they have with other people, often provoking them into reflection or change.We get an insight into their personalities in the initial period of their holiday, their sense of needing to break convention to feel some freedom from their daily routine – they bribe the caretaker to assign the guest room to them, refrain from shaving, launch drunken diatribes at the local arrack shop…the hedonistic lifestyle in short. These scenes are presented with a wholly observant attitude, never persuading the audience to either like or dislike the characters.Things take a big turn when they run into a couple of charming ladies living at a nearby bungalow. Invited by the surprisingly trustful and hospitable patriarch of the house, they meet the lovely enigmatic Aparna (Sharmila Tagore) and her cheerful but widowed sister-in-law Jaya. This part of the film is a beautiful study of the mental processes of male-female relationships in modern society: The rituals of socially acceptable cordial behavior mixed with the low-key sensuality and courtship that occurs at the outset of growing acquaintance with the opposite sex. Both Aparna and Jaya are warm-natured, confident and sophisticated women, and one well identifies with the sense of yearning mixed with hesitation that develops within the men when they interact with them. In the while Hari gets passionately involved with a young tribal woman, Duli (Simi Garewal, of all people).The last phase of the film is when their interactions have proceeded just beyond the preliminary stage. Ashim learns enough about Aparna for him to regard her as more than one of the city women he meets at so many parties, and observes aspects of her nature that lead him to feel guilt for his superficial self-oriented thinking. Sunjoy who grows increasingly comfortable in the company of Jaya gets a jarring moment; and Hari's heated pursuit of Duli ends in a rude blow. But this is not to say that the film ends on a dark note…not at all. Life for our characters goes on…and who knows what the future will bring? ADR's main strength is the completely natural way it presents its characters and situations. We've seen courtship rituals and the associated comedy thousands of times on film…a shipload of Bollywood films in the gaudily colored 60's and the 90's onward was devoted to increasingly bizarre and tasteless depictions of social romantic behavior. But you need to see a film like this to appreciate really how intricate and touchingly fragile the whole ritual can be, and how the anticipation of the man-woman relationship relates to and affects the existing behavior and thought process of the persons involved. It takes the deftness of touch of a Ray to show it to us in this light.Which brings me to the rare sour note in my experience of ADR: The 'transformation scene' of Jaya, the details of which I will not spill for the benefit of those that have not yet seen the film. I understand that Ray wanted to force some kind of a confrontation of the issue of Jaya being a widow and the social constraints upon her, but the way he has done it appears to me as very contrived and gauche, and a huge letdown given the immense easy-going charm of Kaberi Bose's performance up to that point.On a slighter note, Simi Garewal's hilariously accented Bengali makes her tribal character a hard act to digest.But on the whole ADR is a terrific movie of its type, leisurely but always focused, personal but never self-indulgent.

Paul-250 Ray excells himself in this wonderfully sensitive rites-of-passage film. A group of friends in their twenties take a short vacation in the countryside together. After some confusion about their accommodation they find themselves staying near to two respectable young women of good family who stimulate their interest. Although the women appear not too interested at first, things change, and they all begin to spend time together. Each of the characters is profoundly different from the others, and it soon becomes clear that they have different goals - and perhaps needs - in life. That does not prevent an extraordinary sexual chemistry from developing which is all the more vivid for being understated and unspoken. The picnic scene where the girls suggest they all play a literary game is replete with poignantly repressed sexuality. As the film develops the four men begin to go their separate ways, but for the two women (and for one especially) the encounter with the men has stimulated feelings it is difficult to ignore. This is a film of extraordinary subtlety and depth. A classic of world cinema by one of the cinema's greatest directors, it deserves much greater recognition.