Hi you all,
This is the last week, the fourth of four sets each dedicated to a director. Werner Herzog brings up the rear in a steady onslaught. We think you shall enjoy these two films. To be honest, attendance has been distressingly low this past week, which may be due in part to factors of which we are not unaware. Still, remember that the Film Club is a valuable institution. It is something we will perhaps only fully appreciate when we leave NID, so make the most of it – and please show your support.
Tuesday
27th February 2007
6:15 p.m. at the Auditorium
EVEN DWARVES STARTED SMALL (1970)
Runtime: 1 hour 36 minutes
Directed by Werner Herzog
A film to make you think; this, one of Herzog’s earlier pieces, shows clearly his taste for the incredible, literally even. A hint of the bizarre, at times to the point of repulsiveness, is all-pervading, side-by-side with the stark, breathing, moist and warm humanity which even the black and white stock cannot obscure. A film to make you think: it may also throw you for a loop. Very insular is the world the dwarves inhabit. The story, which shows the progression of their rebellion against authority, is essentially one of implosion, of a society that does not transform but instead, crashes. An abbreviated Reign of Terror ensues as a matter of course. May this sort of thing never happen to us.
Thursday
1st March 2007
6:15 p.m. at the Auditorium
AGUIRRE, WRATH OF GOD (1972)
Runtime: 1 hour 40 minutes
Directed by Werner Herzog
Arguably Herzog’s most famous film - deservedly so - it has been screened a number of times here. It centres on the largely fictionalized exploits of a Spanish conquistador on a wild-goose chase for the mythical El-Dorado. Kurosawa had his Mifune. Likewise, Herzog had to deal with the gifted and nearly uncontrollable Klaus Kinski. The relationship was little short of magic. The title character strides, rages across the screen, fully living up to his moniker. In the midst of an overgrown jungle mad dreams play out in extravagant fashion, their death spasms swallowed up by vines and leaves. Watching this, one can scarcely believe it was made in the early 70s. It has the feel of a documentary – Herzog even calls it his best such.
About the director: Werner Herzog (b. 1942) hails from Germany. Internationally renowned, his extensive oeuvre includes THE ENIGMA OF KASPAR HAUSER (1974) and FITZCARRALDO (1982). His movies with the aforementioned actor Klaus Kinski are a category in their own right, so catch some when you can. Herzog would appear to see the natural world as malicious, barbaric, to be held at bay by reason. Do you disagree? Go right ahead, but watch first.
With regards,
The Film Club.
Tuesday 27 February 2007
Wednesday 21 February 2007
Third Week, Feb '07
Hi you all,
In keeping with the month’s agenda, we have kept this week for Ritwik Ghatak, a director who ought to be better known. Even here in India, his audience is mostly limited to “serious” filmgoers, a level of renown far below what his name and achievements rightfully deserve. Whichever way you choose to approach these films, be it as an intellectual or as a casual viewer, the experience will be a rewarding one.
Tuesday
20th February 2007
6:15 p.m. at the Auditorium
AJANTRIK (1958)
Runtime: 2 hours
Directed by Ritwik Ghatak
An otherwise ordinary taxi-driver infected with a strange devotion to his ancient, clattering jalopy of an automobile - the basic premise of AJANTRIK. The title (the English title is either “The Unmechanical” or “Pathetic Fallacy”) informs us as to his sentiments, and those of his neighbours. For a Ghatak film it is quite accessible for most people. Its beauty lies in its simplicity of narrative, which is so effective that we feel for the stubborn protagonist in his childlike travails. Remember, this is Ghatak, so one can see it in any light; exactly which is up to you.
Thursday
22nd February 2007
6:15 p.m. at the Auditorium
KOMAL GANDHAR (1961)
Runtime: 2 hours 14 minutes
Directed by Ritwik Ghatak
This is actually part of a trilogy set in Calcutta and dealing with the then-endemic refugee issue. KOMAL GANDHAR gradually scratches away at the petty superficialities of individual lives, to reveal a shared tragedy that the squabbling parties realize binds them in a way beyond common understanding. The theme of cultural schism is a preoccupation with Ghatak. It is thus fitting that he emplaces layer upon layer rich in cultural detail, particularly music, intricate raiment draped on a storyline at its most essential. The connotations may escape you at times, but the rest of the film makes up for this.
About the Director: Ritwik Ghatak (b. 1925, d. 1976) knew well enough the pain of separation. Born in Dhaka, now in Bangladesh, his family moved early to Calcutta; thereafter he would witness the human tides that came. Steeped in the ferment of the times, he imbued his stints in theatre, documentaries and fiction filmmaking with deep conviction and insight. JUKTI TAKKO AAR GAPPO (1974), his last feature, features the director as a dissipated intellectual on a journey across the land, revisiting an old dream.
With regards,
The Film Club.
In keeping with the month’s agenda, we have kept this week for Ritwik Ghatak, a director who ought to be better known. Even here in India, his audience is mostly limited to “serious” filmgoers, a level of renown far below what his name and achievements rightfully deserve. Whichever way you choose to approach these films, be it as an intellectual or as a casual viewer, the experience will be a rewarding one.
Tuesday
20th February 2007
6:15 p.m. at the Auditorium
AJANTRIK (1958)
Runtime: 2 hours
Directed by Ritwik Ghatak
An otherwise ordinary taxi-driver infected with a strange devotion to his ancient, clattering jalopy of an automobile - the basic premise of AJANTRIK. The title (the English title is either “The Unmechanical” or “Pathetic Fallacy”) informs us as to his sentiments, and those of his neighbours. For a Ghatak film it is quite accessible for most people. Its beauty lies in its simplicity of narrative, which is so effective that we feel for the stubborn protagonist in his childlike travails. Remember, this is Ghatak, so one can see it in any light; exactly which is up to you.
Thursday
22nd February 2007
6:15 p.m. at the Auditorium
KOMAL GANDHAR (1961)
Runtime: 2 hours 14 minutes
Directed by Ritwik Ghatak
This is actually part of a trilogy set in Calcutta and dealing with the then-endemic refugee issue. KOMAL GANDHAR gradually scratches away at the petty superficialities of individual lives, to reveal a shared tragedy that the squabbling parties realize binds them in a way beyond common understanding. The theme of cultural schism is a preoccupation with Ghatak. It is thus fitting that he emplaces layer upon layer rich in cultural detail, particularly music, intricate raiment draped on a storyline at its most essential. The connotations may escape you at times, but the rest of the film makes up for this.
About the Director: Ritwik Ghatak (b. 1925, d. 1976) knew well enough the pain of separation. Born in Dhaka, now in Bangladesh, his family moved early to Calcutta; thereafter he would witness the human tides that came. Steeped in the ferment of the times, he imbued his stints in theatre, documentaries and fiction filmmaking with deep conviction and insight. JUKTI TAKKO AAR GAPPO (1974), his last feature, features the director as a dissipated intellectual on a journey across the land, revisiting an old dream.
With regards,
The Film Club.
Tuesday 13 February 2007
Second Week, Feb '07
Hello everyone,
Three films to show this week, and a good, proper trilogy they are, too. Much respected and lauded, Kieslowski remains a must-see for people who consider themselves as being serious about the cinematic art form. Of course, even if you are just looking for a good time, do come on over - take the plunge. We would be failing in our duty if we did not show THREE COLOURS at least once this year. Each one can be profitably seen by itself, but we recommend that you see them all, as they are somewhat interconnected. The BLUE, WHITE and RED bands comprise the French national tricolour, from left to right, with each corresponding to the respective word in the motto:
“Liberté, égalité, fraternité.”
Tuesday
13th February 2007
6:15 p.m. at the Auditorium
THREE COLOURS: BLUE (1993)
Runtime: 1 hour 40 minutes
Directed by Krzysztof Kieslowski
A moody, introspective sort of film, one of the best ever made. It deals with the story of a woman who faces crushing loss. The pain is so unbearable that she seeks refuge in oblivion, away from all connections to the past. The “Liberty” in this film goes beyond mere politics, instead manifesting itself in a more fundamental quest for an individual’s life. Look out for the symbolisms that permeate the film, especially with colour.
Wednesday
14th February 2007
6:15 p.m. at the Auditorium
THREE COLOURS: WHITE (1994)
Runtime: 1 hour 28 minutes
Directed by Krzysztof Kieslowski
WHITE sets a different tone from the other two, in that it seems more morbid while yet being funny (in a twisted way). “Equality” here would seem to refer to, among other things, the misfortunes of life that put people of different stations on a similar level of misery. This is what happens, and is visible when the two protagonists get together to try and sort things out. Pessimistic? Not quite. Again, flashbacks and shared threads amongst the three movies are in evidence. The symbolism is always at play; WHITE makes you see it for what it is - now virginal, now stark. The colour thing is there too in the next film, RED.
Thursday
15th February 2007
6:15 p.m. at the Auditorium
THREE COLOURS: RED (1994)
Runtime: 1 hour 39 minutes
Directed by Krzysztof Kieslowski
This winds up the trilogy in style. By all rights we should have put it for the 14th. Consider these: the colour red itself; the “Fraternity” (friendship/relationship) connection; the fact that a main character bears the name, Valentine. Fancy that! However, logistics issues made us do it this way. This film is all about the relations between people and the means they use to reach out to each other – or not. Quite appropriately, it depicts the forging of links between and among people of quite different ages and standing (shades of the previous films). The lonely old man must feel a sense of déjà vu when he eavesdrops on a young couple going through the sort of thing he faced at their age. A fitting end to the series.
About the director: Krzysztof Kieslowski (b. 1941, d. 1996) grew up in a Communist Poland. He started out in filmmaking with documentaries, but later decided to move on to fiction for reasons of personal integrity and in light of the restrictions he faced then. This phase saw him win plaudits for his haunting visions of people’s lives. His greatest achievements are regarded as among the best in the world. DEKALOG (THE DECALOGUE) (1988) is a collection of ten films that should not be missed.
Have a good time.
With regards,
The Film Club.
Three films to show this week, and a good, proper trilogy they are, too. Much respected and lauded, Kieslowski remains a must-see for people who consider themselves as being serious about the cinematic art form. Of course, even if you are just looking for a good time, do come on over - take the plunge. We would be failing in our duty if we did not show THREE COLOURS at least once this year. Each one can be profitably seen by itself, but we recommend that you see them all, as they are somewhat interconnected. The BLUE, WHITE and RED bands comprise the French national tricolour, from left to right, with each corresponding to the respective word in the motto:
“Liberté, égalité, fraternité.”
Tuesday
13th February 2007
6:15 p.m. at the Auditorium
THREE COLOURS: BLUE (1993)
Runtime: 1 hour 40 minutes
Directed by Krzysztof Kieslowski
A moody, introspective sort of film, one of the best ever made. It deals with the story of a woman who faces crushing loss. The pain is so unbearable that she seeks refuge in oblivion, away from all connections to the past. The “Liberty” in this film goes beyond mere politics, instead manifesting itself in a more fundamental quest for an individual’s life. Look out for the symbolisms that permeate the film, especially with colour.
Wednesday
14th February 2007
6:15 p.m. at the Auditorium
THREE COLOURS: WHITE (1994)
Runtime: 1 hour 28 minutes
Directed by Krzysztof Kieslowski
WHITE sets a different tone from the other two, in that it seems more morbid while yet being funny (in a twisted way). “Equality” here would seem to refer to, among other things, the misfortunes of life that put people of different stations on a similar level of misery. This is what happens, and is visible when the two protagonists get together to try and sort things out. Pessimistic? Not quite. Again, flashbacks and shared threads amongst the three movies are in evidence. The symbolism is always at play; WHITE makes you see it for what it is - now virginal, now stark. The colour thing is there too in the next film, RED.
Thursday
15th February 2007
6:15 p.m. at the Auditorium
THREE COLOURS: RED (1994)
Runtime: 1 hour 39 minutes
Directed by Krzysztof Kieslowski
This winds up the trilogy in style. By all rights we should have put it for the 14th. Consider these: the colour red itself; the “Fraternity” (friendship/relationship) connection; the fact that a main character bears the name, Valentine. Fancy that! However, logistics issues made us do it this way. This film is all about the relations between people and the means they use to reach out to each other – or not. Quite appropriately, it depicts the forging of links between and among people of quite different ages and standing (shades of the previous films). The lonely old man must feel a sense of déjà vu when he eavesdrops on a young couple going through the sort of thing he faced at their age. A fitting end to the series.
About the director: Krzysztof Kieslowski (b. 1941, d. 1996) grew up in a Communist Poland. He started out in filmmaking with documentaries, but later decided to move on to fiction for reasons of personal integrity and in light of the restrictions he faced then. This phase saw him win plaudits for his haunting visions of people’s lives. His greatest achievements are regarded as among the best in the world. DEKALOG (THE DECALOGUE) (1988) is a collection of ten films that should not be missed.
Have a good time.
With regards,
The Film Club.
Tuesday 6 February 2007
Schedule for Feb '07
Greetings to all,
Those of you who were champing at the bit these last two months should be happy to read the list of this month’s selection, we daresay. The rest may not have heard of one or more of the films (and/or the directors) to be shown this month. These are good movies, so be adventurous. You may be pleasantly surprised.
Screenings for the month of February:
6th Feb., Tuesday, 6:15 p.m., Audi
CLOSE-UP, dir: Abbas Kiarostami
8th Feb., Thursday, 6:15 p.m., Audi
THROUGH THE OLIVE TREES, dir: Abbas Kiarostami
13th to 15th Feb., 6:15 p.m., Audi
The THREE COLOURS trilogy, dir: Krzysztof Kieslowski
13th Tue., BLUE
14th Wed., WHITE
15th Thu., RED
20th Feb., Tuesday, 6:15 p.m., Audi
AJANTRIK, dir: Ritwik Ghatak
22nd Feb., Thursday, 6:15 p.m., Audi
KOMAL GANDHAR, dir: Ritwik Ghatak
27th Feb., Tuesday, 6:15 p.m., Audi
EVEN DWARVES STARTED SMALL, dir: Werner Herzog
March 1st, Thursday, 6:15 p.m., Audi
AGUIRRE, WRATH OF GOD, dir: Werner Herzog
You may have noticed that we are constantly adjusting our format. The amount of footfall Audi-side should make for an interesting study in preferences, which is what we are interested in, besides other things.
With regards,
The Film Club.
Those of you who were champing at the bit these last two months should be happy to read the list of this month’s selection, we daresay. The rest may not have heard of one or more of the films (and/or the directors) to be shown this month. These are good movies, so be adventurous. You may be pleasantly surprised.
Screenings for the month of February:
6th Feb., Tuesday, 6:15 p.m., Audi
CLOSE-UP, dir: Abbas Kiarostami
8th Feb., Thursday, 6:15 p.m., Audi
THROUGH THE OLIVE TREES, dir: Abbas Kiarostami
13th to 15th Feb., 6:15 p.m., Audi
The THREE COLOURS trilogy, dir: Krzysztof Kieslowski
13th Tue., BLUE
14th Wed., WHITE
15th Thu., RED
20th Feb., Tuesday, 6:15 p.m., Audi
AJANTRIK, dir: Ritwik Ghatak
22nd Feb., Thursday, 6:15 p.m., Audi
KOMAL GANDHAR, dir: Ritwik Ghatak
27th Feb., Tuesday, 6:15 p.m., Audi
EVEN DWARVES STARTED SMALL, dir: Werner Herzog
March 1st, Thursday, 6:15 p.m., Audi
AGUIRRE, WRATH OF GOD, dir: Werner Herzog
You may have noticed that we are constantly adjusting our format. The amount of footfall Audi-side should make for an interesting study in preferences, which is what we are interested in, besides other things.
With regards,
The Film Club.
First Week, Feb '07
Hi to all of you,
This week is dedicated to the renowned Iranian director, Abbas Kiarostami. While there could have been any number of combinations – his repertoire is, after all, very large – we think that this brace of films shows off his versatility fairly well. If you have not seen either, all the better!
Tuesday
6th February 2007
6:15 p.m. at the Auditorium
CLOSE-UP (NEMA-YE NAZDIK) (1990)
Runtime: 1 hour 40 minutes
Directed by Abbas Kiarostami
This helped Kiarostami increase his standing in no small way when he made it. To encapsulate the premise (and give away nothing), it deals with an underprivileged man who finds new purpose in impersonating none other than the famous Mohsen Makhmalbaf. Based on actual events, the main personalities reprise their real-life roles, ending up with a re-enactment that seems as if it were a newsreel. A fine window into the world of the Iranian people, shorn of artifice.
Thursday
8th February 2007
6:15 p.m. at the Auditorium
THROUGH THE OLIVE TREES (ZIRE DARAKHATAN ZEYTON) (1994)
Runtime: 1 hour 43 minutes
Directed by Abbas Kiarostami
A widely acclaimed film, this is NOT the final instalment in the “Koker Trilogy”, according to the director himself. One reason why we are not showing all three, but you should watch them anyway if you get the chance. This film is a study of people coming to terms with themselves and each other in a land recovering from a devastating earthquake. It explores the trappings of identity individuals weave around themselves, oftentimes to their own entrapment. More the regular fable than CLOSE-UP by way of treatment, it nonetheless ends in a much less conventional fashion.
About the director: Abbas Kiarostami (b. 1940) has had a long and varied career that has seen him achieve great things. The “Iranian New Wave” of the late ‘60s spawned a number of notables; Kiarostami was one such, first among equals. To understand him properly one should recognize just how intertwined he is with his culture. His early movies have distinctly poetic tones, and the sense of the self, the individual (not necessarily the director) is ever present. A strong minimalist leaning can be seen in, say, TASTE OF CHERRY (1997), which garnered much praise… and criticism. Some of his later films, such as TEN (2002), push the envelope as regards the docu-fiction interplay. An auteur, and an innovator. Any reading on this gem of an artist is necessarily intricate and, best of all, still an unfolding tale.
With regards,
The Film Club.
This week is dedicated to the renowned Iranian director, Abbas Kiarostami. While there could have been any number of combinations – his repertoire is, after all, very large – we think that this brace of films shows off his versatility fairly well. If you have not seen either, all the better!
Tuesday
6th February 2007
6:15 p.m. at the Auditorium
CLOSE-UP (NEMA-YE NAZDIK) (1990)
Runtime: 1 hour 40 minutes
Directed by Abbas Kiarostami
This helped Kiarostami increase his standing in no small way when he made it. To encapsulate the premise (and give away nothing), it deals with an underprivileged man who finds new purpose in impersonating none other than the famous Mohsen Makhmalbaf. Based on actual events, the main personalities reprise their real-life roles, ending up with a re-enactment that seems as if it were a newsreel. A fine window into the world of the Iranian people, shorn of artifice.
Thursday
8th February 2007
6:15 p.m. at the Auditorium
THROUGH THE OLIVE TREES (ZIRE DARAKHATAN ZEYTON) (1994)
Runtime: 1 hour 43 minutes
Directed by Abbas Kiarostami
A widely acclaimed film, this is NOT the final instalment in the “Koker Trilogy”, according to the director himself. One reason why we are not showing all three, but you should watch them anyway if you get the chance. This film is a study of people coming to terms with themselves and each other in a land recovering from a devastating earthquake. It explores the trappings of identity individuals weave around themselves, oftentimes to their own entrapment. More the regular fable than CLOSE-UP by way of treatment, it nonetheless ends in a much less conventional fashion.
About the director: Abbas Kiarostami (b. 1940) has had a long and varied career that has seen him achieve great things. The “Iranian New Wave” of the late ‘60s spawned a number of notables; Kiarostami was one such, first among equals. To understand him properly one should recognize just how intertwined he is with his culture. His early movies have distinctly poetic tones, and the sense of the self, the individual (not necessarily the director) is ever present. A strong minimalist leaning can be seen in, say, TASTE OF CHERRY (1997), which garnered much praise… and criticism. Some of his later films, such as TEN (2002), push the envelope as regards the docu-fiction interplay. An auteur, and an innovator. Any reading on this gem of an artist is necessarily intricate and, best of all, still an unfolding tale.
With regards,
The Film Club.
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