Bhupati’s frequent hyperbole meets its paradoxical other in an unexpected form of ornamentation in Charulata: silence. The silent body works as an especially expressive topography in Ray’s films. Gestures, unaccompanied by words, and silence, as much as words, work as language—and, as a sign of the inadequacy of language—in these texts. The linguistic impasse is expressed in the range of emotional registers on Madhabi Mukherjee’s face—an unspoken, but obviously articulated, series of emotions.
—Gaurav Majumdar, Migrant Form: Anti-Colonial Aesthetics in Joyce, Rushdie and Ray