Shatranj Ke Khilari
- Sanjeev Kumar: Mirza Sajjad Ali
- Shabana Azmi: Khurshida ( Mirza's wife )
- Saeed Jaffrey: Mir Roshan Ali
- Farida Jalal: Nafisa ( Mirs woman)
- Amjad Khan: Wajid Ali Shah ( Nawab of Oudh )
- Victor Bannerji: Naqi Ali Khan (Prime Minister of Oudh )
- Richard Attenborough: General Outram
- Tom Age: Captain Weston
- Amitabh Bachchan ( voice ) Narrator
In 1856, in Lucknow, capital of the Kingdom of Avadh, the living from their ancestral wealth lounger Mirza and I meet every day to play chess. The Nawab of Avadh Wajid Ali Shah has fun with dance, religion, beautiful women and poetry and has little interest for the business of government. General James Outram, the envoy of the Governor General Lord Dalhousie, has come with the intention to Lucknow to move the Nawab to the task of managing sovereignty over Avadh in favor of the East India Company.
By a surprising visitor Mirza and Mir are informed that spread rumors of a violent takeover Avadhs by the East India Company. He also clarifies the fact that chess - game of kings and king of games - does not come from Persia, but Indian origin and that the British way of playing by the Indian deviates.
General Outram opened Naqi Ali Khan, the Prime Minister of Avadh, that the Governor-General has approved the takeover of the Kingdom, as the Nawab has made no effort to improve the management, despite the warning. As the Prime Minister on bringing him the bad news, he enjoys watching a music and dance performance.
Mirza's wife feels neglected and calls her husband an excuse to himself, to keep him from playing, but her powers of seduction remain ultimately unsuccessful. Then stolen the next day the chess pieces, whereupon Mirza and I start to play with tomatoes, limes, chillies and nuts as figures. Enraged, whether their impotence Mirza's wife throws the chess pieces back into the room. The chess players agree, from the next day to play with Me, to be undisturbed.
The Nawab complains to his ministers about their inaction, but is not itself willing to hand over the throne. Outram feared the need for a violent takeover and therefore must be responsible for the breakdown of the existing friendship treaty.
For Mir's wife unexpectedly, Mirza and Mir show up to play chess. When I in the bedroom a nephew ( her lover ) encounters with her, he is clueless and is fooled whose presence on the ground. He thinks of him served up story that the army of the Nawab by able-bodied men out holds and his nephew to hide here. Terrified decide Mirza and Mir out of town in a dilapidated mosque continue playing.
The Nawab looks forward to the adoption Avadhs and disarmed its too weak for a defensive army. In a subsequent reception for General Outram he refuses though to sign the agreement submitted to it, but Avadh leaves it to the British.
As Mir and Mirza find any mosque, they go play in the nearby village. As Mirza loses the game, he revealed to me the infidelity of his wife. I pulls a gun offended and frightened by the news that the British were marching to Lucknow, he shoots from accidentally Mirza. Ashamed, he resigned: If we're not getting our women in the handle, then how should we manage with the British. They reconcile, as they are for each other as indispensable partners game.
This film was the most expensive production at the Satyajit Ray and his first non- Bengali film. It is strictly formal in his system. Ray is the game of chess in the small or large side by side and shows that players and characters are interchangeable and the British by different rules than the Indians play. Right after a historical introduction, a dialogue between General Outram and Captain Weston comes as British can hardly be. Ray here shows his flair for subtle humor and his profound knowledge of the British psyche.
The film is multilingual; Indian actors speak Urdu, the British English.
" With great effort at historical authenticity tried multifaceted parable about India at the time of British imperialism; enriched with a lot of slapstick and snappy jabs. "
"With his chess players ' proved the great Indian director Satyajit Ray once again his mastery: an ironic, often broken essay on British colonialism in India, the story of two local men-about which so long to indulge with a nonchalant decadence their idleness, to their characterized by style and tradition world collapses completely. "
- National Film Awards 1978 National Film Award / Best Film in Hindi
- National Film Award / Best Cinematography ( Best color photography) - Soumendu Roy
- Filmfare Award / Best Director - Satyajit Ray
- Filmfare Award / Best Supporting Actor - Saeed Jaffrey