Satyajit Ray
-
NAYAK / THE HERO (Dir. Satyajit Ray, 1966, India) – Past Transgressions
There is no repudiating that Nayak saw Ray entering a period of digression, from a fecund classical style to one of artistic self-examination. Nayak questionably deconstructs both masculinity and stardom in equal measure, and is clearly self-reflexive. But the film is also part of a longer struggle Ray expressed in a concatenation of films in Continue reading
-
THE APU TRILOGY – Robin Wood (1972) Movie Magazine
‘Where most of Godard’s detractors wouldn’t dream of missing a new Godard film, there is a general sense among Ray’s that Mahanagar and Charulata wouldn’t be worth the time and bus fare. The corollary is that Ray’s admirers (in print at least) tend to be critics of the conservative Establishment. Film enthusiasts who don’t know Continue reading
-
KAPURUSH / THE COWARD (Dir. Satyajit Ray, 1965, India) – The choices we make
It seems a little miscalculated that Criterion have packaged Kapurush with Mahanagar. The apparent logic may appear related with the presence of actress Madhabi Mukherjee in both films. Charulata has been released separately yet thematically Kapurush has much more in common with this film than Mahanagar. Firstly, Kapurush was the film Ray made after Charulata. Continue reading
-
THE APU TRILOGY / APUR SANSAR (Dir. Satyajit Ray, 1959, India) – The Wandering Soul
The Wandering Soul – A Video Essay on Apur Sansar (1959) by Omar ahmed Film bloggers are evolving rapidly in the ways in which they analyse and appreciate film culture. The emergence of the video essay over the past few years has led to more a more visually sophisticated means of articulating close analysis of Continue reading
Movie Mahal 