All posts filed under: 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 the late 1960s and early 1970s. This had much to do with Ray exploring where he stood politically against a backdrop in which Kolkata was becoming radicalised in the late 1960s as a result of growing unemployment and disaffection from the youth. Where this political expression finds certain clarity is in a subplot that involves Arindam (Uttam Kumar) and his college friend, Biresh, a political agitator (most probably a Marxist, Communist or both). In a flashback triggered by a series of intimate conversations with reporter Aditi (Sharmila Tagore), Arindam recalls this particular incident. In the sequence, Biresh is shown to agitate the workers whereas in stark contrast Arindam is busy rehearsing his lines for a play. Later, Biresh questions Arindam’s …

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 Ray’s work well at first hand probably build up a mental image of it as the sort of primitive and literary cinema that has a solid, dull worthlessness but is difficult spontaneously to enjoy or get excited about’. (p. 6) Robin Wood’s appreciation of director Satyajit Ray’s most famous work, the Apu Trilogy, has been long out of print. Wood’s groundbreaking study, first published in 1972 in the UK, was one of the first serious critical readings of the Apu Trilogy. It is almost impossible to find a copy of Wood’s book today or overstate its worth. More baffling is the fact it has never been reprinted since 1972. Robin Wood has always been one of my favourite film writers …

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. Secondly, Kapurush continued the collaboration with both Madhabi Mukherjee and Soumitra Chatterjee from Charulata. Thirdly, Kapurush revisits themes about repression and the love triangle that Ray explored in Charulata. These three reasons are evidence enough that Kapurush is in fact a companion piece to Charulata, resituating themes in a contemporary middle class milieu. Less ambitious than Charulata, Ray distills the melodrama of a love triangle to its most basic by focusing solely on the relationship between a scriptwriter, married woman and her husband. Soumitra Chatterjee plays Amitabh a scriptwriter on the search for locations who ends up at the house of a tea planter after his car breaks down. Much to his surprise, the tea planter’s wife turns out to …