Aparna Sen’s third film Sati absorbs the social context of 18th and 19th-century Bengal where the majority of Brahmins followed religious customs strictly. The Brahmin family featured is not rich. Some young girls and elder women are seen in that old house with no prominent dialogue in the film. Sen’s loud statement against patriarchy is evident on their faces and puppeteered actions. Through a balanced approach, Sen’s camera seizes both unworthy men and women in the times.

I am touched by this scene where a young guy comes to this house and announces his mother’s death. Then, Umi’s uncle goes inside and checks the register to find out whose son is outside. When he comes back and calls his name, the guy breaks down. In another scene, one guy comes and negotiates dowry to stay a night there. Awfully, his forgotten bride inside arranges to pledge the little gold she has to give him money. The scene speaks volumes about the patriarchal fabric of the society which denied the basic emotions of women. They weren’t treated as humans even. An extension of this was the number of marriages done by men in those times without even asking permission from the existing wife. When the new child bride comes home, the old one sets the bedroom and later she and the kids shift to some dark corners of the house. Notably, Sati doesn’t show any conflict between these women. Young widows were considered dead.

And it’s not every woman was in plight then. The story of rich women was different. Just for the sake of custom, their fathers find poor grooms for them and they just visit his house and return to the comforts of their home. The school teacher in Sati represents it. His rich wife treats him too low and shows her pomp anywhere she goes.

Umi’s sensuous moods with her banyan tree husband, her agonizing pain subjected to forceful abortion, the tempest in and out of her on that last night-Shabana Azmi –thy name is seamless talent!

Not many movies of Sen end so brutally.