Untouchable shoemender Dukhi comes to the Brahmin’s and asks him to arrange his daughter’s engagement. The Brahmin belongs to a higher caste. He wants Dukhi to work for him (and for free) before agreeing… A plea against the indian system of castes.
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Even though I'm almost tired of the rural social realism wave of the '70s and '80s, Sadgati has real anger in patches. And even though Ray wasn't too fond of Mani Kaul certain scenes remind me of Kaul's cinema.
A moral tale exhibiting injustice toward the lower working class; the degradation of the Brahmin caste; the dubious social rules of child marriage and even the morbid protection of Hindu priests by ineffective police and village elders, continuing a
Ray's contribution to the cinema of moral outrage, a simple but potent short film about a peasant, just up from a week-long fever that's kept him in bed and still not quite recovered, who asks the local Brahmin to his house to choose an auspicious date for his daughter's marriage (the daughter is about 11-12, welcome to India). The Brahmin immediately sets to poor man to work to pay for the privilege.