User reviews

A well-off family is paid an unexpected, and rather unwanted, visit by a man claiming to be the woman's long-lost uncle. The initial suspicion with which they greet the man slowly dissolves as he regales them with stories of his travels, tales that are at odds with their conventional middle-class perspective on the world.

This film is notable for being Satyajit Ray's final project. He may be best known for the s-called "Apu Trilogy" much earlier in his career. But, to be honest, I enjoyed "Stranger" far more. It was more polished, had a more intelligent script and dialogue. It is something of a masterful movie.

As I often say in reviews, I am not typically a fan of Indian / Bengali films. I rarely see one -- even those considered the best -- that I enjoy. But I would wholeheartedly endorse "The Stranger".

This is only the second Satyajit Ray film I have seen (the first being Two Daughters). I must say that I regret having not seen his movies till now. Agantuk is a very beautiful and simple movie. What is complex is the characters, and the way the story unfolds.

I am mostly impressed by Satyajit Ray's vast knowledge about various topics on history, science, religion and society, which is clearly evident from the movie. Satyajit Ray is a master film-maker, and gets out the best performance from his actors.

I am surely looking forward to seeing more of his work.

What a beautiful film, full of subtleties and ironies. It requires one to contemplate the nature of identity and what one really wants in life. How well do we know our relatives; and, more importantly, how well do we know ourselves? The film beautifully portrays a wide range of emotions with sensitivity as well as hummer. It also includes a mesmerizing indigenous dance performance which contrasts the middle-class world of the protagonists, awakening them to another world. The "stranger" or the long-lost uncle is a marvel, evoking laughter and tears. All in all, delightful throughout. For some reason foreign cinema continues to go unrecognized, while American studios continue to invest inaction movies that only insult intelligence to an already overly ridiculed nation. Watch it you will enjoy it immensely.

This remarkable film is in many ways a self portrait of Satyajit Ray because he was none other than an anthropologist and philosopher in the true sense of playful, childlike wonder. This is the the story of how how a life of curiousity and wonder have to survive in this cruel and foolish world which judges everything in materialistic terms. The philosopher is always and everywhere a stranger,though full of joy, simplicity and wonder at Being which is fervently demonstrated in the 'cosmic magician' sequence. Only those with the child in them alive will understand!

What civilization we have created in the name of being social animal? What is the real civilization –the tribal one or the one our progressive society has been carrying from the very day of urbanization? Although these are not the questions we often dwell ourselves into; but that's what great film makers like Satyajit Ray stroke at in subtle films like this one.

What happens if any stranger becomes a part of your regular life for whom you carry a suspension of disbelief? Some times we come to know that stranger in the most intimate moment of one's life. If one thinks too deeply, this film also questions the very human notion of knowing or unknowing which always remains limited and relative in every individual case. In the name of civilization and sophisticated comfort, sometimes we forget to be human in its true sense and this film by Ray is just showing the reflection image with mild and touchy story to nourish in your film watching experience.

An unexpected and rather unwanted stranger visits the upper middle class Bengali family claiming to be the woman's long lost uncle back to Kolkota after 35 years of his roaming the world. The initial suspicion with which they greet the man slowly dissolves as he starts telling them the stories of his travels; tales which are at odds to conventional middle class perspective of Bengali family. The suspicious husband arranged an intelligent trap to nab him. The story takes an interesting turn as it progress further.

Utpal Dutt is perfect casting choice of Ray for playing 'To be or not to be uncle' who represents suave, intelligent and rational free thinker. However Dutt looks too old compared to his early films; he carried the lead role with his magnetic personality and well presence of character. The film also has some staunch Bengali art house actors like Dhritiman Chattejee, Mamata Shankar, and Deepankar De.

Ray seems so relevant even today. Yes you were right sir; we are still 'Kupmonduk' but we strive not to be one. Highly Recommended for all those who loves to watch meaningful cinema.

One of the greatest films I have ever seen, it is directly comparable with his second movie (pather Panchali) as his finest till date. The movie is all about family relationships and the idea of money. He knows how to direct the regular 'life', pitched in reality and his movies give enough reason for us to understand his brilliance. Utpal Duttas performance is mesmerizing and together , with Ray's sublime direction and Utpal's sensitive,sensational acting this movie is a masterpiece for 'teachers' and 'students'. Just Brilliant. Stop watching mindless movies of Spielberg and direct your valuable time towards Ray, Kurosawa, Chang wook park, Truffaut, Eisenstein, Ritwik Ghatak, Pudovkin, Kieslowski, Almadovar, Antonino, Godard, Wong kar Wai, Fellini, Bertolucci, Makmalbaf, Kiarostami, Bergman, Wajda, Jeunet, Szabo etc

Such a simple premise, but such a beautiful movie, and a glorious way for Satyajit Ray to end his illustrious career. Filmed in beautiful color, it touches on areas like philosophy, anthropology, religion, and science, but in ways that are light and engaging. It was made for me by the performance from Utpal Dutt, who plays the titular stranger with such presence, and imbued with worldly wisdom. It also features traditional musical performances, one with a tamboura and a native dance by the Kol people, which were quite a treat.

The story has a man who left home to travel the world long ago turning up in a family's life, and claiming to be the woman's uncle. She wants to believe him but since she was a baby when he left can't confirm it, and along with her cautious husband and vigilant friends, has doubts about his identity, particularly since an inheritance is involved. As they try to "peel the onion" on his life and who he is, he talks about his experiences in various cities around the world, and more significantly, his time with native peoples in India, as well as North and South America. The drama about his identity and whether he's cheating them seems to ebb into the background given the depth of what he's talking about and his intellectual honesty.

There were several fine scenes around that, one of which was the stranger talking to a group of kids about the incredible coincidence of the moon's diameter and distance from the earth being a nearly perfect proportion to the sun's, such that they appear the same size and 'fit' perfectly over one another during an eclipse. The way he talks about the mystery of this with the kids is natural and inspiring, and I also liked the other moments he had with the son in the family, passing not only his knowledge along, but also his wanderlust and desire to learn.

My favorite scene was when a family friend grills him in the attempt to expose him as a fraud, and we hear his views on weightier matters. As to religion, he says, "I happen to be a bit unorthodox in my views. I don't believe in something which creates barriers between people. Religion does that, particularly organized religion." He sees the miracles of life and is quite spiritual, but in a bittersweet, resigned way, says "The trouble is, it's extremely difficult to believe in a benevolent God these days. The daily papers alone make us question that belief." When pushed about the "savage" people he lived among, he points out the wisdom of native peoples, and in areas that aren't appreciated by 'advanced' cultures, e.g. Science, technology, medicine, architecture, and art. He says "Do you know the man who is really civilized?" It's the man who by using his thumb, presses a button which releases a weapon which obliterates an entire city with all its inhabitants."

These are some dark observations, but they aren't delivered in a gloomy, depressing way. They're balanced out by the man's humanity and the wisdom which comes from life experience and maturity. I felt it was Ray himself speaking here, in the grander scheme of things "no one," but a gifted, intelligent filmmaker, giving one last gift to the world.

It is possible and dangerous to read too much into a director's final film as being a "swan song" or a "culmination," and it seems to be an easy "insight" by those unable to come up with something better. But here we have a veritable summation and a compelling final statement of a brilliant career.

Whenever I watch an S. Ray film, I always feel lost trying to find a main theme or thrust in the story. Here we have several: ancient custom vs. technology, self-discovery, mystery/doubt, etc. But they all co-mingle in this extraordinarily complex character (based on Ray himself no doubt, hence the high level of insight). His was a cinema of life, scattered and bewildering, yet sublimely beautiful.

Still, Ray remains one of the few great directors from his era who never quite mastered the use of colour. Indeed, the lingering shots of images lacks the power of say the chandelier in "Jalsaghar," and the regret and sorrow on the faces of the family doesn't come anywhere close to the final scenes of "Pather."

On top of this we have Ray trying most explicitly to be philosophical. Some of Manmohan's laments on civilisation resemble passages from "Notes From Underground," and we even have the husband talking about having to "put two and two together," but these themes seem to be mentioned for the sake of mentioning them. Ray, like Manmohan, was an anthropologist, not a philosopher. Still, there are some deeply touching moments in this overall capably and thoughtfully made film.

3 out of 5 - Some strong elements

It does have the quintessential charm of Ray's craftsmanship. Having said that I must admit that this movie cannot be placed in the same league of "Charulata" or "Aparajito".In spite of being witty the dialogues are verbose at times. The characterisation of the main protagonist(Manomohan Mitra) looks forced in few occasions. In the character of Prithwish Sen Gupta one finds a very "cliched villain" which is quite uncharacteristic of Ray. I need not mention that the words uttered by Manomohan Mitra are nothing but Ray's own "commentary" of modern contemporary society. They are rich in value and devoid of hypocrisy.Probably it would have been lot nicer if the "commentary" would have unfolded in terms of the narration of the story rather being put in the dialogue directly which gives it a theatrical quality instead of adding cinematic value.

However the conflict of the characters,their apprehensions and predicaments are portrayed very beautifully.This movie is gifted with excellent performances from all the actors. Undoubtedly it will be a treat to Ray's ardent fans.

Enchanting film that carefully builds on its music and bakground and mysticism. The characters all are "agantuk" (outsiders) in their own way, and none so much as the man who prides himself on being most conventional until his world is turned upside down. On the surface, this is a marvelous essay on trust and identity and spirituality. Dig further, it is this and much more.

I normally do not enjot old films, but this one has its charm. Satyajit Ray is a great storyteller. Kept me engaged even with such a simple story.

Simple and eloquent. The Stranger may be too charming for many of today's hipsters. A bit corny perhaps, but corn tastes great when it's cooked properly. The acting alone is worth the price of admission. If this was Ray's swan song, I'm sure he's resting in peace. Bravo, maestro!

Ancient culture & value of every human digity dignified beautifully in this film. By a stranger uncle, a dream of every viewers has come into life.

Don't practice babbitry. The main message of this film.

My Rating : 8/10

Satyajit Ray is an icon of Indian cinema. Agantuk or The Stranger is a Bengali film which is Ray's native language and it is a superbly told story about a stranger who visits a family who suspects if he is who he says he is (a great uncle from their mother's side). A sweet film which is mainly a dialogue-based type conversation piece.

Agantuk (1991) : Brief Review -

Legend Satyajit Ray says good bye with an intelligent, thoughtful and intellectual Bengali Masterpiece for Pan India audience. The words fall short to praise the legend but one must speak his heart out after seeing something incredible in Indian Cinema. I never expected that Satyajit Ray would deliver an intellectual film in audience friendly mainstream genre and then i confronted Agantuk to change my mind. The plot is very familiar to every Indian as it deals with 'Atithi devo bhav' tradition and how people behaves after having an unwanted and unknown guest at home. This plot is very ordinary or too decent i would say for the standard of Mr. Ray but then he's Legend Mr. Ray for a reason. He plants his intellectual quarrels, intelligent conversations, thought provoking topics and warm human sentiments in this ordinary story to make it Extraordinary. Agantuk is way ahead of it's time and even Today in 2020 when i watched the film i can say the same. I meant to say maybe i can say the same when i am about to die, it's that much Timelessly ahead. Agantuk (The Strenger) tells a story of a decent family who recieves an unknown and unwanted guest during pooja festivals in the city. Early suspicion is cleaned up but then doubtful behaviour of famil and highly intellectual thoughts of the the guest mismatch to make his visit turn ugly. During the 120 minutes narrative Agantuk literally fills you with thoughtful ideas about the world and questions your soul that how did you even unnotice these things happening around you for years. Afterall you are oart of this society and yet you know nothing subtle about it. Those religious and Ethical learning lessons coming in most simple way possible are contrary to Satyajit Ray's articstic and intricate storytelling style. Utpal Dutt, Mamata Shankar, Deepankar De and child artist Bikram Bhattacharya everyone in the film is at peak in natural acting. Lots of credit for it goes to the cinematography which captures thier face expressions nicely. Like other Satyajit Ray classics Agantuk is not intricate or difficult film to understand, it is it in my knowledge the most simplest gem of cinema by Ray but only if your mind is even capable to understand those thoughts provoking and poignant dialogues about civilization. Overall, A Masterpiece that must be there in Top 5 Films of 90s Decade.

RATING - 9/10*

Dipankar Dey receives a letter from her long lost uncle, Utpal Dutt, whom she barely remembers from when she was a little girl. He has been traveling the world since then, is in Bengal, and hopes he will get some old-fashioned hospitality from her. Her husband is suspicious, and locks up his precious art before the old man appears. When he shows up, he's an interesting set of contradictions, offering his nephew-in-law his passport and telling him how easy they are to forge, charming his great-nephew and friends, wrangling with the family friends who hope to help the family figure out who he is and what he is there for.

Satyajit Ray's last movie explores some of his long-standing obsessions, with the issues of what is civilization, what is science ad why we do what we do. The pacing is surprisingly erratic, making me wonder if that is deliberate or a sign of Ray's failing powers (he died the following year) or an expression of the way people reveal themselves to each other, a combination of calculation and sentiment.

A masterpiece by a master bengali writer & director. It's one of those creation which elevated Bengali film industry. Satyajit Ray was a genius which was reflected in his every creation.

AGANTUK (THE STRANGER) was Satyajit Ray's last film and has been little seen in the West and yet it's one of the most 'western' of his pictures. The stranger of the title is a man who arrives at the home of a well-to-do Calcutta family claiming to be the wife's long-lost uncle. It's an intriguing premise but Ray, who also wrote the film and composed the score, doesn't really develop it. There is no real suspense in the picture which is mostly played for light, satirical comedy, (though it isn't really that funny either). As the uncle, Utpal Dutt coasts through the film, (it's an easy performance, Ray has given him all the best lines), but there's a lovely performance from Mamata Shankar as the young wife and niece and by far the best scene in the film is when she plays the tamboura and sings a song, and there's a beautiful child, Bikram Bhattacharya, who seems genuinely enchanted to see the stranger. Shot in colour by Barun Raha it seems to be striving for a profundity that simply isn't there but it's also a hard film to dislike and there's a great dance near the very end.

I know the reputation of Satyajit Ray and quite enjoyed his Enemy of the People, even though it's a knockoff from Ibsen. But this film was just too slow and plodding for my taste. Once the main plot device became clear (Who is this man? Is he real or fake? Why did he come here?) I found my interest fell off very quickly. I just didn't care much about who he was and what his purposes were. So as the little vignettes piled up one on the other, I became more and more restless, finally giving up altogether. Too much seemed mundane, like filler. Why, for example, did we have to sit through his explaining to kids using coins on a sheet of paper how near objects in the sky, like the moon, appear as large as or larger than distant objects, like the sun, all done in yawning detail? The kids seemed to know it anyway--they knew all about the causes of eclipses. Was this supposed to awaken a sense of wonder in the kids, or in us? It didn't. Then the great man finishes with a ridiculous, pseudo-profound statement that no one knows why distant objects appear smaller than near ones and that this is the greatest mystery of the universe. Sure, guy, whatever you say. This movie is a masterpiece? A work of genius? Down here on planet Earth, we reserve terms like that for much better films than this one. Perhaps if you have enough patience to sit out the succession of little scenes, you might find yourself rewarded in some way along the lines of what the other reviewers are saying here--I hope so--but take note that it will require your patience--more than I have. No, this is far from the work of a genius.

An intriguing, complex, suspenseful story that careens from comedy to menace and back again very smoothly.