Charulata (The Lonely Wife)

Satyjait Ray - 1964
The space of the confined corridors is extremely well created. The dark walls, the narrow passages and byways the wife is trapped in, give a real physical sense. The light sources always being distant, never properly defined, a window that offers nothing concrete (the binocular eyeline matches are of an alien world) are well done. As are the tight, constrained, small camera movements from a head high postion; as though the camera itself can't leave the confines.
With the wide angle lenses, the deep rooms, the stacked framings, there is again something Wellesian in how the fronts of the frames are used. The deep framings almost always have something at the front, which is the real Wellesian distinction.
We have so many points crossing here, different people caught in the changing, historical times. We have sympathy for the woman, but the husband, well, they're all flawed, but at people.