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United News of India
19-05-2025
- Entertainment
- United News of India
Indian cinema in Cannes Classics for fourth successive year
Cannes, May 19 (UNI) India's rich cinematic heritage is the focus of the Cannes Film Festival for the fourth successive year. Satyajit Ray's 1970 'Aranyer Din Ratri' (Days and Nights in the Forest), is a major highlight of the Cannes Classics section, which screens movies restored from ruins, at the festival this year. The restored version of 'Aranyer Din Ratri', the fifth Indian film to be screened in Cannes Classics in the past four years, will have its world premiere at the festival this evening. Actor Sharmila Tagore and American director Wes Anderson will present the Ray film at the Buñuel Theatre. Anderson is a member of the board of the Film Foundation, which has restored 'Aranyer Din Ratri' in collaboration with the Film Heritage Foundation from India. In 2022, India was the Country of Honour in the Cannes Classics section, which had two restored films from the country--- Ray's 1970 film 'Pratidwandi' (The Adversary) and Malayalam director G Aravindan's 'Thampu' (1978). In 2023, the Cannes Classics screened Manipuri director Aribam Syam Sharma's 1990 film, 'Ishanou' (The Chosen One), followed by the Hindi film, 'Manthan'(1976) directed by Shyam Benegal last year. 'Pratidwandi' was restored in 4K resolution by the National Film Archive of India (now merged with the National Film Development Corporation) while 'Thampu', 'Ishanou' and 'Manthan' were restored by the Film Heritage Foundation created by filmmaker and film conservationist Shivendra Singh Dungarpur. 'Working on the restoration of Satyajit Ray's 'Aranyer Din Ratri' has been an incredibly moving experience. Seeing the film's beauty and artistry revitalised after 56 years – from its haunting score and the captivating chemistry of its cast, to the unforgettable grace of Sharmila Tagore and Ray's sensitive portrayal of the Santhal tribals – has been a true privilege," says Dungarpur, who directed the 2012 documentary, 'Celluloid Man', on the life of film conservationist P K Nair. "I remember I was shooting for 'Aradhana' when Manikda (Satyajit Ray) approached me to shoot for this film for a month at a stretch. It was incredibly hot during the shoot and we could only shoot in the mornings and late afternoons. I have wonderful memories of the time spent with my co-actors and Manikda's precision," says Sharmila Tagore, one of the actors in 'Aranyer Din Ratri'. The 4K restoration of 'Aranyer Din Ratri' was completed using the original camera and sound negative preserved by the film's Kolkata-based producer. The Film Foundation was formed by celebrated American filmmaker Martin Scorsese in 1990 for preservation of cinematic heritage across the world. An introspective portrayal of post-colonial urban India, 'Aranyer Din Ratri' subtly unravels the complexities of class consciousness, gender relations, and the enduring weight of tradition in a rapidly changing Indian society. Besides Sharmila Tagore, the cast included Simi Garewal, Soumitra Chatterjee and Aparna Sen. "The restoration of 'Aranyer Din Ratri' is an extraordinary gift, not just to those of us who were part of the film, but to world cinema," says Simi Grewal. "To have it premiere at Cannes Film Festival is a beautiful tribute to Satyajit Ray's timeless brilliance," she adds. Among the restored films from around the world screened in Cannes Classic this year is Charlie Chaplin's 'Gold Rush' to mark the centenary of its release, and 'Amores Perros' by Mexican director Alejandro G. Iñárritu. UNI XC PRS
Indian Express
17-05-2025
- Entertainment
- Indian Express
Aranayer Din Ratri at Cannes: How Satyajit Ray broke down the hollowness of masculinity
When a film gets resurrected after 55 years, for all its contemporary resonance, it is a testament to its maker's vision. Aranayer Din Ratri (Days and Nights in the Forest) may have not been understood back in 1970 but the fact that it has been remastered and makes its debut at Cannes shows that filmmaker Satyajit Ray had a pulse on the more subtle conflicts of transition and change, whether civilisational, post-colonial, gendered or environmental. Often dismissed as a coming-of-age story of four big-city boys, its layered subtexts continue to be unpeeled. Ashim (played by Ray's favourite actor Soumitra Chatterjee) is a corporate slave, conscious of his affluence and intellectual elitism, who takes four of his friends to a forest in Palamau to take a break from the rigours of city life. His friends include a literature-loving labour welfare officer, a struggling sportsman and an unemployed and self-deprecatory jester. They may be a motley group, but they are united by their ego and the presumptuousness of their city-bred, brown sahib behaviour. When they illegally occupy a forest rest house, bribe the watchman, distrust the tribals, but fall for their hooch and women, Ray asks if their wild but hypocritical behaviour is the real fear in the wilderness. In fact, as the boys renegotiate their moral standards far away from the city (one of the characters actually says, 'Thank god for corruption'), little did we know that Ray would question and unpack them further in the city trilogy that was to follow — Seemabaddha, Jana Aranya and Pratidwandi. Cinematically, Ray holds up the unspoiled lives of Santhal tribals, giving them agency and the power of rebellion instead of just looking at their exploitation from a distant, sympathetic lens. Taken in today's context, and in times of climate change, the film could be a metaphor for urbanisation eating into our forest cover. In fact, with no technology and tools, Ray's sweeping panorama of the Palamau forests and languorous afternoons under sal trees can be a point of reference of what it was before deforestation. But the film will always be remembered for its loud female voice, with Ray allowing them complete command in the traditional battle of the sexes scenarios. Mini (Sharmila Tagore) and her widowed sister-in-law, who are on a break too, confront the men and expose their flimsy liberalism. The young widow, who is unabashed about vocalising her desire to one of the 'interested' men, debunks him when he fails to take so much as a first step. She laughs out loud, hollowing out his saviour complex. Many had even wondered why Ray had cast Simi Garewal in body paint as the tribal woman instead of casting a local or any other actor. Perhaps that was Ray's way of unmaking stereotypes, of showing that women were more malleable than men and that a cultured thoroughbred like Garewal could transform herself into a village girl and still not look out of place. It is Mini, though, who emerges as the film's conscience keeper. She is the one who asks how the men could be so lost in their hedonistic pursuits while being impervious to their caretaker's sick wife living in their backyard. During a memory game at a picnic, she chooses to let Asim win, exposing his childish competitiveness while resetting the rules of gender roles with her self-assured grace and maturity. But it is the scene when Asim asks her for her telephone number and she writes it on a rupee note that is the film's strongest punch. What's money to Asim is a useless piece of paper to her. What matters to her is the weight of character. This signoff, subtle and bold at the same time, is one of Ray's finest feminist statements questioning the maleness of power. Perhaps that's the reason why Tagore and Garewal will be introducing the film to the audience at Cannes. Normally, polarities — urban-rural, rich-poor, corrupt-idealistic, perfect-imperfect, materialistic-altruistic — were sharply etched out in the arthouse films of the 70s. But Aranyer Din Ratri hides them under the foliage of the Palamau forest, waiting to be found and understood. They collide but also, strangely, co-exist. It is because the characters are mimics of our own confused value systems that we do not condemn their failings. Instead, as they drive back to the city, they are uncomfortably self-aware. The director leaves us with a question: Will they be able to own their real identities? Isn't this also the post-millennial angst?
Time of India
08-05-2025
- Entertainment
- Time of India
Aranyer Din Ratri to be screened in the Cannes Classics section
Satyajit Ray 's Aranyer Din Ratri (now restored in 4K), starring Soumitra Chatterjee , Sharmila Tagore , Simi Garewal, Samit Bhanja, Aparna Sen, and others in lead roles, is based on the novel of the same name by Sunil Gangopadhyay. The film will be screened in the Cannes Classics section. Sharmila Tagore, who played the cool and intellectual Aparna in the film, will attend the special screening at the French Riviera. Along with her, Purnima Dutta, the producer of the film, was initially expected to attend the festival. Previously, Ray's Pratidwandi , also produced by her, was screened at the Cannes Film Festival in 2022. Film Heritage Foundation's Shivendra Singh Dungarpur will also be joining the screening. 'I have known about this wonderful news for the past month, but the official announcement came on Wednesday. I had thought I would attend the festival, but given the current global situation, I am not in the mental state to participate in anything—it feels like a battlefield all around, and I've lost all interest. Still, I'm delighted by the news. Pratidwandi , our previous film, was screened at this prestigious festival, and now this. Our third film, Goopy Gyne Bagha Byne , has gone for restoration, and we are hopeful it will make it to Cannes next year—then the circle will be complete,' said Purnima with a smile. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Pernas e pés inchados: Isso ajuda a drenar o fluido do edema aartedoherbalismo Undo She added, 'Rinku (Sharmila Tagore) will be attending the festival, and I'm sure the audience will have many questions. Rinku will be able to answer them, as she was associated with the film from the beginning. I could have answered them too, but I'm not going. My daughter and daughter-in-law will be attending the festival on my behalf. The restored version of Aranyer Din Ratri is beautiful to watch, and I'm confident the audience will have a wonderful time. The film's theme is modern and layered, with rich details. Ray's masterful storytelling, subtle character development, and insightful exploration of human nature against the backdrop of nature will surely resonate with the audience when the film is screened on May 19.' Aranyer Din Ratri was also nominated for the Golden Bear at the 20th Berlin International Film Festival. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . And don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
The Hindu
02-05-2025
- Entertainment
- The Hindu
Critical reengagement with his work will keep Ray relevant: Dhritiman Chaterji
Actor Dhritiman Chaterji, known for his powerful performances in several of Satyajit Ray's seminal films, on Friday (May 2, 2025) observed that the most meaningful tribute to the iconic filmmaker would be a critical re-engagement with his body of work - emphasis, he said, on the word 'critically'. Speaking to The Hindu on the occasion of Ray's birth anniversary, Mr. Chaterji, who starred in Pratidwandi, Ganashatru, and Agantuk, reflected on the complex legacy of a filmmaker widely regarded as one of the most influential voices in world cinema. Asked how he would assess Ray's stature among Indian filmmakers, Mr. Chaterji said he was cautious of evaluative rankings, particularly in the realm of art. 'I have always been wary of 'who-is-the-best' type of comparisons in the arts. It depends so much on the vision of the creator as well as the sensibility, ideology, and context of the viewer. That said, Ray's multidisciplinary capabilities - in literature, music, the visual arts, criticism - probably contributed to his extraordinary achievements in cinema,' he said. 'I would stop short of calling him the greatest filmmaker in India,' he added. 'To do so would be intellectually lazy and unfair to other brilliant directors. In any case, for me, such a term is somewhat meaningless. What I most enjoyed about my time with him were the long conversations - many of which extended far beyond cinema.' At a time when social media platforms were inundated with glowing tributes to the Oscar-honoured auteur, Mr. Chaterji struck a more reflective note. 'I don't know if turning his birthday into an annual ritual, almost a puja, marked by unquestioning adulation, truly helps in keeping his legacy alive. His relevance, to me, lies in two things: a consistent effort to place his work - directly or indirectly - within a broader social and political context; and a deep-seated respect for the intelligence of his audience.' Recalling a memorable moment from Ganashatru, in which he played a character with ambiguous moral shades - a departure from his earlier roles - Mr. Chaterji shared a quiet anecdote that offered insight into Ray's working style. 'Ray was not one to offer exuberant praise. A simple 'Fine, let's move on' was generally the highest compliment. During Ganashatru, I was unsure, and finally asked him, 'Manikda, is it going alright?' Without looking up from what he was reading, he replied, 'If it's not alright, I'll let you know'. That was praise enough, as far as I was concerned.' On a lighter note, Mr. Chaterji also recounted a moment of personal embarrassment from the set of their last film together. 'There was a mix-up with the call time, and I arrived late to find Ray, Utpal Dutt, and the crew waiting. Ray simply said, 'Late on the very first day?' That quiet reprimand was enough for me to want to disappear into the background,' he said, adding that he could not recall Ray ever losing his temper on set. 'He was, among other things, an excellent human resource manager. His sets functioned with calm and efficiency.' As Ray's legacy continues to inspire generations of filmmakers and cinephiles, Mr. Chaterji's reflections serve as a reminder of the importance of critical appreciation over rote reverence - of engaging with the filmmaker not just as a cultural icon, but as a thinker deeply rooted in his time and society.
The Hindu
01-05-2025
- Entertainment
- The Hindu
Willpower, the secret weapon of the Vietnamese during the war
In Satyajit Ray's classic Pratidwandi, set in the late 1960s in Kolkata, the protagonist Siddhartha, played by Dhritiman Chatterjee, goes for a job interview. The panel asks, 'What would you regard as the most outstanding and significant event in the last decade?' With little hesitation, Siddhartha responds: 'The war in Vietnam'. 'More significant than the landing on the moon?' 'Yes,' he says. 'We were not unprepared for the moon landing. We knew about advances in space technology. It was remarkable but not unpredictable. On the other hand, the Vietnam War revealed the extraordinary power of resistance of the Vietnamese people... the ordinary people... peasants... nobody knew they had it in them. This isn't just technology, it's about plain human courage, and it takes your breath away.' Prompt comes the question: 'Are you a communist?' Siddhartha replies, 'I don't think one needs to be one to admire the Vietnamese'. This may be a dialogue from a film, but it is still a powerful reflection of how thinking and informed people across the world, especially among the poor and developing countries, perceived the Vietnamese struggle for reunification of their partitioned country. Faced with the onslaught of a much superior and heavily armed superpower, the Vietnamese relied on their collective spirit and ingenious ability to use their terrain and peasant knowledge. While they did get help from other countries of the former Socialist bloc, their success was largely owed to the implementation of their own ideas and their hunger for freedom. I got an opportunity to study the thought process of that generation recently. I was one of the many journalists who was invited to cover the 50th anniversary of Vietnam's reunification, celebrated with pomp on April 30. Vietnam is today among the fastest-growing and upper-middle-income economies in the world. Ho Chi Minh City — the present-day name of Saigon, the outpost and capital of South Vietnam, and the fall of which signalled the end of the Vietnam War — betrays little about the war-torn city that it was five decades ago. However, a few miles away from the city, the Cu Chi tunnels showcase how the Vietnamese managed to outwit their opponents through sheer willpower. Using just shovels and wicker baskets, the Vietnamese resistance forces built a 250-km-long, three storey tunnel complex. This consisted of simple ventilation provisions, water wells, resting rooms, kitchens (with carefully designed chimneys to avoid smoke detection), military bunkers, medicinal facilities, and camouflaged areas facilitating shooters to attack the enemy. Most of the implements used to build this complex were as old as the Iron Age, but they were still enough to cause terror among the Americans and the South Vietnamese infantry. The Vietnamese also retold stories of guerrilla fighters in the Can Gio mangrove forest, located about 70 km from Ho Chi Minh City. Here, the Viet Cong guerrillas, many wearing simple loincloths to wade and swim across crocodile-infested waters, used harsh terrain such as mangrove forests and the Lòng Tàu River, to plan raids and ambushes on U.S. vessels and South Vietnamese facilities. When firebombs, including the use of the notorious napalm bombs, and heavy artillery were dropped on them, the survivors used the remains of the unexploded ones to be repurposed for their own artillery. The remarkable feature of the armed resistance was the steadfast emphasis on collectivism and the avoidance of a personality cult, except for the strong reverence for the tallest leader of the Vietnamese liberation movement, Ho Chi Minh. On this anniversary of re-unification, it is worth remembering how forceful ideas and willpower in fighting for a just cause can triumph over brute force.
