That is a clip from The Postmaster (the first story in Teen Kanya, directed by Satyajit Ray).
Trisha Gupta on Tagore’s characters, seen better in films than in English translation:
In film after film, we see events through the eyes of the educated Bengali man trying to deal with a world that has either changed too much—or too little. The protagonist is often a young man from the city who arrives at a small provincial outpost, armed with a modern Western education and little else, his head full of glimpses of another world that seem only to succeed in cutting him off from everything around him.Think of Soumitra Chatterjee as the personable young revenue collector who goes to work for the Nizam’s government in Khudito Pashan, ostensibly too rational to listen to the locals who urge him not to stay in the haunted palace. Or of the amiable (if faintly ridiculous) Anil Chatterjee in The Postmaster, who talks of writing poetry and refuses an invitation to the local gaaner ashor (musical evening) because he’s “just started on a work by Scott”. Or Soumitra again, as the would-be lawyer in Samapti, returning to his mother’s village home with the barely-disguised impatience of the urbane, reading a copy of Tennyson’s poems on the boat.
These are characters under the mythic spell of what they understand as Western civilisation. It was a feeling that Tagore knew all too well. “Before I came to England,” he wrote in 1878, “I supposed it was a small island and its inhabitants were so devoted to higher culture that from one end to the other it would resound with the strains of Tennyson’s lyre.”
But while he sees the incongruity of these characters, and is able to laugh at the absurdity of their attempts to distinguish themselves from the supposedly uneducated masses—the postmaster attempts to sit and read his Walter Scott on a chair, but it collapses under him and he is forced to crouch on the mud floor, under the gaze of the village madman; the would-be lawyer with his highly polished shoes refuses to heed the boat boy’s warning and falls headlong into the mud—Tagore never fails to take seriously the fact that these are men who are striving to be modern, to break from the past.
And the objects of their desire for change, most often, are women.
And here is Satyajit Ray’s superb documentary on Tagore: