Satyajit Ray is broadly regarded as one of the greatest directors of all time, and his acclaims support the claim. His works are mostly based on the Bengali language movie industry in India. However, he made two movies in the Hindi language, both based on the works of the famed author Munshi Premchand. “Sadgati,” a TV movie, is often considered amongst Ray’s least impressive movies. His first movie in the Hindi language, nevertheless, is a different story. “The Chess Players” is often included in the conversation of the best Ray films and is frequently said to be one of the most calculated movies made by the director.
It is 1856. Nawab Wajid Ali Shah rules over Awadh, which, with the rapid decline of the Mughal Empire, is the sociocultural centre of the imperial culture. However, he is chained to the power of the East India Company, the...
It is 1856. Nawab Wajid Ali Shah rules over Awadh, which, with the rapid decline of the Mughal Empire, is the sociocultural centre of the imperial culture. However, he is chained to the power of the East India Company, the...
- 1/15/2021
- by Raktim Nandi
- AsianMoviePulse
Stars: Chhabi Biswas, Gangapada Bose, Kali Sarkar, Padma Devi | Written and Directed by Satyajit Ray
After the commercial failure of the second part of his Apu Trilogy, Bengali auteur Satyajit Ray opted for more commercially viable material for his next project. He turned to writer Tarasankar Bandyopadhyay, and a short story about a landlord clinging to his last motes of power as his empire crumbles around him. The result was 1958’s Jalsaghar, released internationally as The Music Room.
The landlord (or zamindar) in question is Lord Roy, played by Chhabi Biswas with a gravitas that matches his contemporary, Laurence Olivier. The film opens halfway through the narrative, with Roy as a bent old man, and the last of his servants, Ananta (Kali Sarkar), still at his side. We jump back four years to show what brought Roy to near-ruin, before the second half of the movie shows us how he...
After the commercial failure of the second part of his Apu Trilogy, Bengali auteur Satyajit Ray opted for more commercially viable material for his next project. He turned to writer Tarasankar Bandyopadhyay, and a short story about a landlord clinging to his last motes of power as his empire crumbles around him. The result was 1958’s Jalsaghar, released internationally as The Music Room.
The landlord (or zamindar) in question is Lord Roy, played by Chhabi Biswas with a gravitas that matches his contemporary, Laurence Olivier. The film opens halfway through the narrative, with Roy as a bent old man, and the last of his servants, Ananta (Kali Sarkar), still at his side. We jump back four years to show what brought Roy to near-ruin, before the second half of the movie shows us how he...
- 8/3/2017
- by Rupert Harvey
- Nerdly
Pather Panchali/Aparajito/Apur Sansar
Written and directed by Satyajit Ray
India, 1955/1956/1959
The Criterion Collection set of Satyajit Ray’s Apu trilogy has been one of the more eagerly anticipated releases in recent years. These masterworks of world cinema, widely acclaimed for decades, have been long overdue a much-deserved superior treatment on home video. Now though, benefitting from a 4K digital restoration by the Academy Film Archive and L’Immagine Ritrovata, and with a wealth of bonus features, these exceptional films are available in the superb presentation so many have been waiting for.
But to start at the source, such a treatment would not have been warranted in the first place were the films themselves not so remarkable, and that they most certainly are. As no less an authority than Akira Kurosawa puts it, “To have not seen the films of Ray is to have lived in the world without...
Written and directed by Satyajit Ray
India, 1955/1956/1959
The Criterion Collection set of Satyajit Ray’s Apu trilogy has been one of the more eagerly anticipated releases in recent years. These masterworks of world cinema, widely acclaimed for decades, have been long overdue a much-deserved superior treatment on home video. Now though, benefitting from a 4K digital restoration by the Academy Film Archive and L’Immagine Ritrovata, and with a wealth of bonus features, these exceptional films are available in the superb presentation so many have been waiting for.
But to start at the source, such a treatment would not have been warranted in the first place were the films themselves not so remarkable, and that they most certainly are. As no less an authority than Akira Kurosawa puts it, “To have not seen the films of Ray is to have lived in the world without...
- 11/24/2015
- by Jeremy Carr
- SoundOnSight
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