men became corriplete. All the deepest feeling of mankind originates here and certain archetypes control the reaction of man to different situations. .. .The archetype manifests itself as a symbol through images.' This deep concern with archetypes informs the main body of his work. Orchestrated repeatedly in all his films, the concern is best integrated inMeghe Dhaka Tara (1960). Working at various levels, the film depicts the struggle of a working-girl to support her refugee family in post-partition Bengal. Nita, the protagonist (Supriya Chowdhuty) is exploited by her parasitic family. The crippled and defenceless father and the bitter, conniving mother have been broken by the traumatic upheaval in their past. Unable to provide for their family, they look to the eldest daughter for succour. The whims and fancies of her petty, self-centred younger sister (Gita) and brother (Montu) result in further demands being made on her. The elder brother Shankar, who is obsessed by the desire to become a classical musician, remains her only sympathizer. Yet, being unemployed and in need of sympathy and encouragement himself, he is more dependent on her than are the rest of the family. Sanat, with whom she is in love, betrays her idealism and faith by discontinuing his research and marrying her sister Gita, Suffocated by the oppressive claims made on her, her isolation is complete when the people in her life become established and go their own ways. Gita and Sanat are mired in the mediocrity of their marriage; fledgling Montu findjs his wings and leaves the nest, and Shankar returns as a musician of repute. The now complacent mother has no further use for Nita who is now relegated to a peripheral role. Nita realizes her alienation — Shankar, the successful musician, has arranged for Nita's convalescence in a Shillong sanatorium^. ^ou a^e at last going to the hills.' The hills recur consistently in Nita's story. They represent to her the freedom of childhood and the elevation to a heightened state of existence; and she yearns for them as a symbol of release from the bondage of a mundane life. An important cinematic motif is a photograph other and Shankar as children, watching the sunrise from a hill top. Desperately trying to keep her fragmenting self together, she often asks Shankar to 44 April • June 1983