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The L&C-Silhouette Basket
A hand-picked basket of cherries from the world of most talked about books and popular posts on creative literature, reviews and interviews, movies and music, critiques and retrospectives ...
to enjoy, ponder, wonder & relish!
to enjoy, ponder, wonder & relish!
Tag Archives: Satyajit Ray
2018 marks 200 years of the publication of the first science fiction novel, Mary Shelly’s Frankenstein or the Modern Prometheus. It is a fitting occasion to take a close look at the...
Manas Mukul Pal's debut feature Sahaj Pather Gappo released in September 2017 is quite different from the popular or even the parallel trends in Bengali cinema....
Impressed by Utpal Dutt’s interpretation of Othello, the famous filmmaker Madhu Bose offered him the role of Indo-Anglian poet Michael Madhusudan Dutt. This was the beginning of a long career marked by a thick portfolio of films...
An Unfilmed Visual Script: Satyajit Ray’s Ravi Shankar is a very different and special book. It embeds within itself, a 32 page drawing book containing more than a 100 sketches by Satyajit Ray...
Abesh Das has written a Bengali book on Tapan Sinha’s oeuvre of unique cinema named Tapan Sinha – Sarbik Chalachchitra Bikhha. Silhouette editor Amitava Nag speaks to the author to explore what inspired...
The recently concluded Kolkata International Film Festival threw up a few interesting films including Katarina Zrinka Matijevic’s The Trampoline, Maria Govan’s Play the Devil, Kim Ki Duk’s Net...
This was no traditional screenplay. Satyajit Ray 'drew' the script of his first film Pather Panchali in a sketch book, using the sketches as a visual guide when he started shooting eventually. The...
The Calcutta Film Society was registered in October 1947, with Satyajit Ray, Chidananda Dasgupta, Manojendu Majumdar and Purnendu Narayan as the founding members. The society became an important and integral part of...
This is not a biography since Soumitra himself doesn’t believe in one as he mentions in his note on the book. It is also not a comprehensive analysis of Soumitra’s work; rather it is an introduction...
Destroyed by nitrate fires, stripped bare of silver, decaying in locked cans in hot and humid, unfavourable weather conditions or sold by the kilo in flea markets, the films of India, including the classics are meeting...
On reading Pather Panchali one cannot help feeling that Bibhuti Bhushan’s construction of Apu has given Ray an understanding of child psychology. Most importantly, Ray imbibed from Pather Panchali, the leit motif of his...
Soumitra narrowed his focus on Ray’s handling of actors – how awe-inspiring it was to find that he would probably never cast someone who doesn’t seem fit for the role apart from...
Escape is a theme in both films, with the Beatles given more opportunity for and being much better at it than Arindam. His escape comes mostly in dreams, and even they turn dark after offering a few moments of...
As the years passed, I began to feel that the main character in several of the following movies of Satyajit Ray could be seen as a figure of Apu proceeding on his journey of discovery in the world and establishing...
Indian cinema reveals a wide variety of masculinities in the male protagonist, from God figures drawn from Hindu mythology to saints derived...
Ray’s extraordinary Calcutta films have not attracted a fraction of the analysis devoted to his early work. Western critics have tended, with the exception of Andrew Robinson and one or two others, to...
Ray, in his characteristic swagger, put it down to the puerile nature of his native Bengali audience and the ‘backward, stupid and trashy’ quality of contemporaneous work in the Bengali film industry.
