Sunday, October 4, 2015

Digest for - 3 updates in 3 topics (Dr. Jai Maharaj): Oct 05 03:18AM

Satyajit Ray's 'Apu Trilogy' in top five greatest Asian films
Monday, October 5, 2015
Jai Maharaj, Jyotishi
Om Shanti (Dr. Jai Maharaj): Oct 04 06:19PM

By Gautam Chintamani
The Pioneer
Sunday, October 4, 2015
To call V Shantaram a pioneer would be an understatement
as the filmmaker's prodigious body of work has numerous
instances where his genius shines across. But more than
the technical finesse or literary value he instilled
within his cinema, he understood the medium's power to
bring about a social transformation
In the much-lauded The New York Trilogy, American author
Paul Auster leaves his reader with a notion that every
life, no matter how many facts or details are given, in
the end is inexplicable. Auster suggests that each life
is nothing more than the sum of contingent facts, a
chronicle of chance intersections, of flukes, of random
events that divulge nothing but their own lack of
purpose. Yet these are the very facets that make some
lives worth talking about.
Insightful as this might be, biographies wouldn't
principally agree with Auster's observation as a life's
chance intersections is what makes them worth chronicling
and among them are the ones that explore the lives of
artistes, in fact, more specifically film personalities.
Cinema impacts millions of lives across nations, times,
and social conditioning in an unlikely manner and the men
and women who create this connection aren't accessible or
even visible in the manner, say, a politician or a
sportsperson might be and, therefore, the biography of a
filmmaker assumes a more significant role than it
ordinarily would.
It's interesting that while films and their stars
transcend the invisible boundary that separates them from
the viewer, filmmakers, however, rarely manage to connect
with the viewer. More often than not, their larger than
life persona ends up defining them. In spite of such an
imposing presence, the life of a filmmaker is rarely seen
beyond the edifice of a tormented artiste, like in the
case of Guru Dutt or an open book that has nothing worth
reading into anymore, such as Raj Kapoor.
The tradition of film biographies in India, till some
years ago, was the bastion of either those who knew their
subjects intimately or had interacted with them in a
professional capacity. As a result, these treatises were
either a summation of achievements or hagiographies that
somewhere refused to treat their subjects as real people.
Amid the different kinds of biographies, the ones that
seem to be the best, as observed by Orson Welles, are the
kinds where the biographer is present too. As one of the
most talked about filmmakers ever, Welles' point is worth
pondering over as he was not only one of the first
filmmakers to be venerated as a cult figure or a demigod
but also someone who saw this happen in his own lifetime.
The best example of Welles's argument is the iconic
Hitchcock: Truffaut (1967) where the then five films old
Fran├žois Truffaut got the ordinarily guarded director
Alfred Hitchcock to open up unlike ever before. As a film
critic, Truffaut had championed the cause of considering
the works of Hitchcock as art in addition to the wildly
successful formulaic commercial ventures that they had
been viewed as, and the density of insights into the
cinematic questions in the long interview continues to
ravish readers even after nearly five decades.
Continues at:
Jai Maharaj, Jyotishi
Om Shanti Oct 04 07:14AM -0700

Download applications
Nagaland lottery -
Mizoram lottery -
Kerala lottery -
You received this digest because you're subscribed to updates for this group. You can change your settings on the group membership page.
To unsubscribe from this group and stop receiving emails from it send an email to

No comments: