The Ray Punish quartet of Ashim, Sanjoy, Hari and Shehkar of his1970 film Aranyer Din Ratri resolve to break all the forces that tie them to the city of Calcutta. Leaving the city they embark on a reckless holiday in the forests of Palamau in the neighboring state of Bihar. Ashim and
Sanjoy are professionals. Ashim is a successful executive and Sanjoy is a high-ranking labor officer in a jute mill. Both are old friends who have even worked together on a literary journal they once used to bring out. Hari is a famous cricket player and Shehkar is the group's self-appointed
clown. He is a gambler and a parasite with no steady profession. Each of the four men project a need to renounce Calcutta and replace it with the ambience of the forest they choose to enter. Ashim finds his professional success hollow and boring; Sanjoy is tired of hiding his middle-class
timidity behind his Marxist rhetoric; Hari has been jilted (and slapped) by his sophisticated Calcutta girlfriend; and Shekhar who had nothing really important to do in Calcutta (the advent of the horse-racing season being a week away), has his gambling racebook thrown out of the speeding
car in the film's opening moments.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.