Abhijaan

Satyajit Ray - 1962
Ray uses a more melodramatic mis-en-scene than for 'Mahangar'. We have music at once charming and obtrusive. Little tracks into faces, some quite dramatic cutting from one big single fact to another. With the wide angle lens, there for the depth inside, these faces look on the verge of distorted.
The deep interior scenes are shot in high contrast. Ray uses the whole frame, coiling figures around the bottom and sides of the frame. Not that they aren't balanced; the eyeline or the direction of the body does that work.
This is again a deeply complex analysis of a time, a kind of person. Trying to pull up from old dignities to the new realities, and soling themselves in the process. There is, on the surface, a way out.