छोटी सी बात Chhoti Si Baat (1975) One of the respectable aspects of Basu Chatterjee’s work is his exploration of female relationships that cross the boundaries of mother-daughter, sister-sister and in-law based criteria (which is usually established only on the basis of relating directly back to the male at the center of the story). And so with friendship, Chatterjee dishes out something quite intimate and relaxed, and very true to life. They talk about boys and work and their lives while giggling and making innuendos and being so real. One of my favorite instances of this female friendship is in Rajnigandha, where Vidya Sinha stays at a married friend’s home while in Mumbai. Their comfort with each other is so palpable and physical and in turn emotionally satisfying to the point that their excursions are more more interesting than the hero-heroine interactions. They lay next to each other in bed, on a sofa, spreading and cementing their comradeship of the middle-class type in every nook and cranny of the film itself.

छोटी सी बात Chhoti Si Baat (1975)

One of the respectable aspects of Basu Chatterjee’s work is his exploration of female relationships that cross the boundaries of mother-daughter, sister-sister and in-law based criteria (which is usually established only on the basis of relating directly back to the male at the center of the story). And so with friendship, Chatterjee dishes out something quite intimate and relaxed, and very true to life. They talk about boys and work and their lives while giggling and making innuendos and being so real.
One of my favorite instances of this female friendship is in Rajnigandha, where Vidya Sinha stays at a married friend’s home while in Mumbai. Their comfort with each other is so palpable and physical and in turn emotionally satisfying to the point that their excursions are more more interesting than the hero-heroine interactions. They lay next to each other in bed, on a sofa, spreading and cementing their comradeship of the middle-class type in every nook and cranny of the film itself.
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