The two films studied are Ray's "Ghare Baire" (1984) & Kasaravalli's "Thayi Saheba" (1997). Both are set during the period of the struggle for India's Independence. Both Bimala of "Ghare Baire" & Narmada (Thayi Saheba) are shown leading cloistered lives at the start of the films.
In the case of Bimala, her husband Nikhil himself leads her emancipation from Home (Ghare) to the outer world (Baire), presumbly to give her greater independence of choice. But she is overcome by the charm of Sandip, an opportunist masquerading as a Nationalist & falls in love with him. So in a twist of fate reminiscent of "The Tale of Foolish Curiosity" in "Don Quixote", Nikhil invites death upon himself & dishonour to the family, as pointed out by the anguished widowed sister-in-law of Nikhil, who also lives with the family.
In a striking contrast, Narmada (Thayi Saheba), a matriarchal figure, living a sequestered life & running the household of her husband Appa Saheba, leaves her home only to search for her husband, who is imprisoned (for fighting for farmers rights) in a place undisclosed to her. But because of adoption & other complicated family matters, she sacrifices herself to a prison term to save the people she loves.
To conclude, both Bimala & Narmada came out from their homes, one for selfish & the other for unselfish reasons. But both found only unhappiness.
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