The loss of innocence finds a different expression in Pikoo( 1980), a 25-minute short made for French television. The child is now caught in the meshes of the adult world and alienated from it by the bitterness between his parents and his mother's affair with a lover, neither of which he is able to understand. He also has to contend with the closeness to death of his frail grandfather. In a telling moment he compares his right arm with the old man's and wonders why his own are smooth and round and the grandpa's so emaciated, with the veins sticking out fearfully. All of this oppresses his mind into a silent communication with his painting. The contrast between childhood and old age had always fascinated Ray as an unfathomable,, constantly repeated mystery of nature and of life. Pikoo has an inkling of the inexorability of the flow of events around the child. The unspokens in Pikoo's mind are as basic to him as they are to the adult world, when it stops to think. Indeed it is through him that we are forced to ponder the same questions that we constantly try to escape. It is a poetic evocation of what the archetypal child mind of Nachiketa articulated in his philosophic enquiry.
This is the aspect of Pikoo that stands out and gives the film its death. We share the child's inability to understand, and gives the film its depth. We share the child's inability to understand, and it silences us. Ehere the film disappoints is in the brazeness of the husband-wife-lover tiangle. It does not evolve; it has no inner logic. It is just there, as a vulger fact. It is not even seen from the child's point of view. It passes a moral judgement on Pikoo's mother because of what is seen as just plain lust, unrelieved, unaccompanied by feeling. There is bare hint of bad blood between husband and wife but it is nit explained or wxplored at all, not even by silent suggestion as in the opening sequence of "Charulata" ending with Charu regarding Bupati.