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.
Tuesday, 23 January 2007
Special for 24th Jan '07
Hello everyone,
We have a special surprise for you on the 24th of this month. At 6:15 p.m. we are screening a documentary by a former NID student, Anirban Dutta Gupta. The film’s title is:
TSUNAMI: WAVE OF DISASTER
Made in 2005
Runs for about 90 minutes
In the months following the Tsunami that struck coastlines on the 26th of December 2004, a small team went to study the Onges, drawn by the curious fact that, out of all the teeming coastal populations, only this miniscule group had sensed imminent disaster and had thus survived. A remarkable tale; of a people in tune with their environment; of a feat of multi-tasking achieved by those who made the documentary. Anirban Dutta Gupta is credited as Co-director. The BBC bankrolled the enterprise.
Do come and see this.
With Regards,
The Film Club.
We have a special surprise for you on the 24th of this month. At 6:15 p.m. we are screening a documentary by a former NID student, Anirban Dutta Gupta. The film’s title is:
TSUNAMI: WAVE OF DISASTER
Made in 2005
Runs for about 90 minutes
In the months following the Tsunami that struck coastlines on the 26th of December 2004, a small team went to study the Onges, drawn by the curious fact that, out of all the teeming coastal populations, only this miniscule group had sensed imminent disaster and had thus survived. A remarkable tale; of a people in tune with their environment; of a feat of multi-tasking achieved by those who made the documentary. Anirban Dutta Gupta is credited as Co-director. The BBC bankrolled the enterprise.
Do come and see this.
With Regards,
The Film Club.
Fourth Week, Jan '07
Hi to all,
The past two weeks' screenings saw our brains in power-saving mode. These two films should see those synapses firing again. Not a prissy movie at all, is THE PILLOW BOOK, and one you shall always remember. 8½ rounds off the month as would a sparkling bookend.
Tuesday
23rd January 2007
6:15 p.m. at the Auditorium
THE PILLOW BOOK (1996)
Runtime: 1 hour 6 minutes
Directed by Peter Greenaway
Part Chinese, part Japanese, our bold protagonist tries to find her way in a world, or, should we say, between worlds that have little place for those who thumb their noses at the way things are. The ravages of an indifferent world leave her caring for little besides self-gratification, and she gets into one situation after another. Ironically, this quest finds expression in attempted recapitulation of a ritual from an innocent past, when, as a child, her father would put writings of good fortune on her face. Come adulthood, and fond remembrance turns into fetish. One could draw all sorts of conclusions from the premise of this film. Let's see those reviews!
About the Director: Peter Greenaway (b. 1942) is a rather remarkable person. He began with studies in the Fine Arts; this informs his elaborate sense of cinematic composition. Now, even if you thought that this film was unsettling, try and get hold of his THE COOK, THE THIEF, HIS WIFE AND HER LOVER (1989). There, civility and beastliness are locked in ceaseless struggle. Greenaway’s abilities do not end here – he has VJ-ed a show and written for the opera. His film 8½ WOMEN (1999) is in its name homage to Thursday's film by Fellini.
Thursday
25th January 2007
6:15 p.m. at the Auditorium
8½ (1963)
Runtime: 1 hour 18 minutes
Directed by Federico Fellini
Possibly his most highly regarded film, 8½ deals with that faceless horror which all creative individuals must sometimes face - the "block". Suffering from this scourge? You would then know that an obvious way out would be to document your travails at the starting line. Fairly common and much abused. Fellini is, however, many notches above the rest of us, and his take ends up as a masterpiece. The lead character is a stand-in for Fellini; the film, besides showing a director twiddling his thumbs, delves into profound reflections on the birthing process and its attendant agonies, all the way back to conception. A must see film, because it is:
(a) one that you can talk about having seen afterwards, and
(b) relevant to your current situation.
About the Director: To show a film by Federico Fellini (b. 1920, d. 1993) is, quite simply, an honour. The roster of achievment is glittering; to merely name a few that won Academy Awards, we have LA STRADA (1954), LE NOTTI DE CABIRIA (1957) and LA DOLCE VITA (1960). The first two have sterling performances by Giulietta Masina (b. 1921, d. 1994), who also happened to be his wife. Fellini is known for his portrayals of common lives into which he inserts personal, off-kilter perspectives.
With regards,
The Film Club.
The past two weeks' screenings saw our brains in power-saving mode. These two films should see those synapses firing again. Not a prissy movie at all, is THE PILLOW BOOK, and one you shall always remember. 8½ rounds off the month as would a sparkling bookend.
Tuesday
23rd January 2007
6:15 p.m. at the Auditorium
THE PILLOW BOOK (1996)
Runtime: 1 hour 6 minutes
Directed by Peter Greenaway
Part Chinese, part Japanese, our bold protagonist tries to find her way in a world, or, should we say, between worlds that have little place for those who thumb their noses at the way things are. The ravages of an indifferent world leave her caring for little besides self-gratification, and she gets into one situation after another. Ironically, this quest finds expression in attempted recapitulation of a ritual from an innocent past, when, as a child, her father would put writings of good fortune on her face. Come adulthood, and fond remembrance turns into fetish. One could draw all sorts of conclusions from the premise of this film. Let's see those reviews!
About the Director: Peter Greenaway (b. 1942) is a rather remarkable person. He began with studies in the Fine Arts; this informs his elaborate sense of cinematic composition. Now, even if you thought that this film was unsettling, try and get hold of his THE COOK, THE THIEF, HIS WIFE AND HER LOVER (1989). There, civility and beastliness are locked in ceaseless struggle. Greenaway’s abilities do not end here – he has VJ-ed a show and written for the opera. His film 8½ WOMEN (1999) is in its name homage to Thursday's film by Fellini.
Thursday
25th January 2007
6:15 p.m. at the Auditorium
8½ (1963)
Runtime: 1 hour 18 minutes
Directed by Federico Fellini
Possibly his most highly regarded film, 8½ deals with that faceless horror which all creative individuals must sometimes face - the "block". Suffering from this scourge? You would then know that an obvious way out would be to document your travails at the starting line. Fairly common and much abused. Fellini is, however, many notches above the rest of us, and his take ends up as a masterpiece. The lead character is a stand-in for Fellini; the film, besides showing a director twiddling his thumbs, delves into profound reflections on the birthing process and its attendant agonies, all the way back to conception. A must see film, because it is:
(a) one that you can talk about having seen afterwards, and
(b) relevant to your current situation.
About the Director: To show a film by Federico Fellini (b. 1920, d. 1993) is, quite simply, an honour. The roster of achievment is glittering; to merely name a few that won Academy Awards, we have LA STRADA (1954), LE NOTTI DE CABIRIA (1957) and LA DOLCE VITA (1960). The first two have sterling performances by Giulietta Masina (b. 1921, d. 1994), who also happened to be his wife. Fellini is known for his portrayals of common lives into which he inserts personal, off-kilter perspectives.
With regards,
The Film Club.
Wednesday, 17 January 2007
Third Week, Jan '07
Hello to all,
One slot is all we have this week for the Film Club. The festive atmosphere lingers on still, for the film on Thursday is full of exuberance. What is within may hit home when you realise that it is about people like us.
Thursday
18th January 2007
6:15 p.m. at the Auditorium
FAME (1980)
Runtime: 2 hours 14 minutes
Directed by Alan Parker
This follows the experiences of students at a school for the performing arts in New York, all the way from auditions and through the four years of study to graduation day. More than training for a future trade, it is the process of growing-up, of transformation of the self, which is the main concern of this movie. As a coming-of-age piece, it does a fine job. Fragments of joy and sorrow commingle with the grindstone of daily instruction. An ever-present worry is that manifest potential may prove to be a will-o-the-wisp. Now that is something we can relate to. And it does this in a very accessible way.
About the Director: Alan Parker (b. 1944) is a notable British filmmaker with several hits under his arm, including EVITA (1996) and PINK FLOYD THE WALL (1982), the latter which you will remember having seen last semester. Thursday’s very musical screening is different in that it ends on a relatively happier note than some of his other offerings.
With regards,
The Film Club.
One slot is all we have this week for the Film Club. The festive atmosphere lingers on still, for the film on Thursday is full of exuberance. What is within may hit home when you realise that it is about people like us.
Thursday
18th January 2007
6:15 p.m. at the Auditorium
FAME (1980)
Runtime: 2 hours 14 minutes
Directed by Alan Parker
This follows the experiences of students at a school for the performing arts in New York, all the way from auditions and through the four years of study to graduation day. More than training for a future trade, it is the process of growing-up, of transformation of the self, which is the main concern of this movie. As a coming-of-age piece, it does a fine job. Fragments of joy and sorrow commingle with the grindstone of daily instruction. An ever-present worry is that manifest potential may prove to be a will-o-the-wisp. Now that is something we can relate to. And it does this in a very accessible way.
About the Director: Alan Parker (b. 1944) is a notable British filmmaker with several hits under his arm, including EVITA (1996) and PINK FLOYD THE WALL (1982), the latter which you will remember having seen last semester. Thursday’s very musical screening is different in that it ends on a relatively happier note than some of his other offerings.
With regards,
The Film Club.
Tuesday, 16 January 2007
SET FREE!
This blog needs to be out in the sun, basking in winter's warmth! It is quite boring, just a simple archive. It is time we release it.
INTERESTING LINKS
www.imdb.com
www.rottentomatoes.com
www.bbc.co.uk/film
Here are some interesting links on the web .Do visit them...and also contribute to this list!
www.rottentomatoes.com
www.bbc.co.uk/film
Here are some interesting links on the web .Do visit them...and also contribute to this list!
Tuesday, 9 January 2007
Second Week, Jan '07
Hi to you all!
This week is all about entertainment. Not to imply, however, that we at the Film Club have lost it and have become purveyors of kitsch, no. We like to show the good stuff, if heavy, sometimes, and we are not averse to slipping in a little fun edgeways. But we would qualify that word: fun. It certainly is so, for us. For the protagonists of these two movies, the right to savour life is hard earned.
Tuesday
9th January 2007
6:15 p.m. at the Auditorium
OLIVER TWIST (1948)
Runtime: 1 hour 54 minutes
Directed by David Lean
“Please Sir, I want some more.”
The gruel served to these waifs, so typical of the London of the Early Industrial Age, was of such poor nutritive value as to merely keep them alive. Human rights were mostly observed in the breach, the right to a second helping an unknown concept. David Lean takes Charles Dickens’ famous story and brings to life the feel of an entire era. His adaptation succeeds to a great extent, especially in characterization, where the personalities one encounters are perfectly cast. Look out for Alec Guinness’ performance in this one.
About the director: David Lean (b. 1908, d. 1991) has directed so many masterpieces of the mainstream that one does not know quite where to begin. They include LAWRENCE OF ARABIA (1962), THE BRIDGE ON THE RIVER KWAI (1957) and DOCTOR ZHIVAGO (1965). If you have not seen any of these movies, make it a point to do so.
Thursday
11th January 2007
6:15 p.m. at the Auditorium
ON THE WATERFRONT (1954)
Runtime: 1 hour 48 minutes
Directed by Elia Kazan
A sterling performance by Marlon Brando, as the lead character in this seminal film, that is not to be missed; all the more so because the director, Kazan, is making a statement about himself and his motivations. The movie depicts the inner workings of gangs within the communities living along the Manhattan and Brooklyn shorelines. One can appreciate this movie as just that, and find it rewarding, while those who look further may see it as commentary on larger issues, such as plagued the times that once were. Which is more important: loyalty to your immediate community… or to something higher?
About the director: Elia Kazan (b. 1909, d. 2003) started with theatre, where he soon made a name for himself. His transition to the motion picture was even more remarkable. His making of A STREETCAR NAMED DESIRE (1951) hearkens back to his theatrical interpretation of the same. As you may have seen on TV, his appearance on Oscar night, 1999, reflects the bitter schism that still haunts American society half-a-century after the anti-Communist witch hunt. ON THE WATERFRONT seems to be an oblique attempt at explaining his position. Hear him out, and remember.
With regards,
The Film Club.
This week is all about entertainment. Not to imply, however, that we at the Film Club have lost it and have become purveyors of kitsch, no. We like to show the good stuff, if heavy, sometimes, and we are not averse to slipping in a little fun edgeways. But we would qualify that word: fun. It certainly is so, for us. For the protagonists of these two movies, the right to savour life is hard earned.
Tuesday
9th January 2007
6:15 p.m. at the Auditorium
OLIVER TWIST (1948)
Runtime: 1 hour 54 minutes
Directed by David Lean
“Please Sir, I want some more.”
The gruel served to these waifs, so typical of the London of the Early Industrial Age, was of such poor nutritive value as to merely keep them alive. Human rights were mostly observed in the breach, the right to a second helping an unknown concept. David Lean takes Charles Dickens’ famous story and brings to life the feel of an entire era. His adaptation succeeds to a great extent, especially in characterization, where the personalities one encounters are perfectly cast. Look out for Alec Guinness’ performance in this one.
About the director: David Lean (b. 1908, d. 1991) has directed so many masterpieces of the mainstream that one does not know quite where to begin. They include LAWRENCE OF ARABIA (1962), THE BRIDGE ON THE RIVER KWAI (1957) and DOCTOR ZHIVAGO (1965). If you have not seen any of these movies, make it a point to do so.
Thursday
11th January 2007
6:15 p.m. at the Auditorium
ON THE WATERFRONT (1954)
Runtime: 1 hour 48 minutes
Directed by Elia Kazan
A sterling performance by Marlon Brando, as the lead character in this seminal film, that is not to be missed; all the more so because the director, Kazan, is making a statement about himself and his motivations. The movie depicts the inner workings of gangs within the communities living along the Manhattan and Brooklyn shorelines. One can appreciate this movie as just that, and find it rewarding, while those who look further may see it as commentary on larger issues, such as plagued the times that once were. Which is more important: loyalty to your immediate community… or to something higher?
About the director: Elia Kazan (b. 1909, d. 2003) started with theatre, where he soon made a name for himself. His transition to the motion picture was even more remarkable. His making of A STREETCAR NAMED DESIRE (1951) hearkens back to his theatrical interpretation of the same. As you may have seen on TV, his appearance on Oscar night, 1999, reflects the bitter schism that still haunts American society half-a-century after the anti-Communist witch hunt. ON THE WATERFRONT seems to be an oblique attempt at explaining his position. Hear him out, and remember.
With regards,
The Film Club.
Friday, 5 January 2007
Schedule for Jan '07
Hello everybody,
The first screening week of the year 2007 is done. We have seen enthusiasm for both films; a fairly auspicious beginning, as one might put it. A newborn year, and a month that continues with the pattern that began in December, which is to say, an assortment, as opposed to a theme. We plan to change course in February, the details of which we will make known later. Our apologies for this late schedule.
Screenings for the month of January:
2nd Jan., Tuesday, 6:15 p.m., Audi
BAMBI MEETS GODZILLA, dir: Marv Newland, and
THE BEATLES: A HARD DAY’S NIGHT, dir: Richard Lester
4th Jan., Thursday, 6:15 p.m., Audi
EDIPO RE (OEDIPUS REX), dir: Pier Paolo Pasolini
9th Jan., Tuesday, 6:15 p.m., Audi
OLIVER TWIST, dir: David Lean
11th Jan., Thursday, 6:15 p.m., Audi
ON THE WATERFRONT, dir: Elia Kazan
(Note: Tuesday the 16th has been allotted to a screening related to the Pongal festivities.)
18th Jan., Thursday, 6:15 p.m., Audi
FAME, dir: Alan Parker
23rd Jan., Tuesday, 6:15 p.m., Audi
THE PILLOW BOOK, dir: Peter Greenaway
25th Jan., Thursday, 6:15 p.m., Audi
8½, dir: Federico Fellini
We hope that this month the Auditorium shall have you all, or most of you, as regular patrons. As has been mentioned before, January’s schedule provides ‘tasters’ of work by various filmmakers, in the hope of sparking individual interest. (Hors d’œuvres courtesy the Film Club; main course courtesy the KMC.) It is always useful to have feedback, especially in person, with students commenting on some aspect or the other. If you see any one of us three members, please feel free to tell us what you think.
With regards,
The Film Club.
The first screening week of the year 2007 is done. We have seen enthusiasm for both films; a fairly auspicious beginning, as one might put it. A newborn year, and a month that continues with the pattern that began in December, which is to say, an assortment, as opposed to a theme. We plan to change course in February, the details of which we will make known later. Our apologies for this late schedule.
Screenings for the month of January:
2nd Jan., Tuesday, 6:15 p.m., Audi
BAMBI MEETS GODZILLA, dir: Marv Newland, and
THE BEATLES: A HARD DAY’S NIGHT, dir: Richard Lester
4th Jan., Thursday, 6:15 p.m., Audi
EDIPO RE (OEDIPUS REX), dir: Pier Paolo Pasolini
9th Jan., Tuesday, 6:15 p.m., Audi
OLIVER TWIST, dir: David Lean
11th Jan., Thursday, 6:15 p.m., Audi
ON THE WATERFRONT, dir: Elia Kazan
(Note: Tuesday the 16th has been allotted to a screening related to the Pongal festivities.)
18th Jan., Thursday, 6:15 p.m., Audi
FAME, dir: Alan Parker
23rd Jan., Tuesday, 6:15 p.m., Audi
THE PILLOW BOOK, dir: Peter Greenaway
25th Jan., Thursday, 6:15 p.m., Audi
8½, dir: Federico Fellini
We hope that this month the Auditorium shall have you all, or most of you, as regular patrons. As has been mentioned before, January’s schedule provides ‘tasters’ of work by various filmmakers, in the hope of sparking individual interest. (Hors d’œuvres courtesy the Film Club; main course courtesy the KMC.) It is always useful to have feedback, especially in person, with students commenting on some aspect or the other. If you see any one of us three members, please feel free to tell us what you think.
With regards,
The Film Club.
Tuesday, 2 January 2007
First Week, Jan '07
Happy New Year, Everyone!
We hope you all had a good time in the year past. Whatever the case may be, we’re sure that most of you will have lived it up at the changing of the guard. In recognition of the spirit of revelry, we thought it appropriate to send up A HARD DAY’S NIGHT as our first screening of the year. Hopefully, by Thursday those bloodshot eyes would have recovered, and feet would have glided back to the ground.
Tuesday
2nd January 2007
6:15 p.m. at the Auditorium
BAMBI MEETS GODZILLA (1969)
Runtime: 2 minutes
Directed by Marv Newland
The telling of this oh-so-short short would be longer than its actual duration! Take our word for it: it’s good.
Followed by
A HARD DAY’S NIGHT (1965)
Runtime: 1 hour 27 minutes
Directed by Richard Lester
It’s been a hard day’s night
And I’ve been working like a dog
It’s been a hard day’s night
I should be sleeping like a log
An honest, cheeky look at the lives of the boys from Liverpool, changed forever to a cloistered existence within the trappings of near-godhood. The Fab Four look on with bemusement, tinged with a bit of chagrin, at the wave of mass adulation they have recently been subjected to – and will have to endure for years. Behind the glitter, they had to keep up with hectic schedules, grueling studio sessions, and struggle with their identities. Shot in B&W, this movie pioneered cutting the visuals to match the beat of the music, a trait still present in contemporary music videos. Despite the limited budget, it stands as a decent movie by itself. Just imagine. Your parents and ours were shaking their legs to these tunes, so watch this movie, if for nothing else.
About the director: Richard Lester (b. 1939) worked with the Beatles in the 60s, making, in addition to the above movie, HELP (1965). His biggest box-office hits were THE THREE MUSKETEERS (1973) and THE FOUR MUSKETEERS (1974).
Thursday
4th January 2007
6:15 p.m. at the Auditorium
EDIPO RE (OEDIPUS REX) (1967)
Runtime: 1 hour 50 minutes
Directed by Pier Paolo Pasolini
“You will kill your father and make love to your mother!” – prophesy of the Oracle (or words to that effect).
The sentiment against incest is deeply rooted in our consciousnesses, a taboo so strong it is spoken of in whispers even today, a sin put almost on par with cannibalism. So too, is patricide, the killing of one’s own father. The title character commits both, though not at first aware of the fact. Based on the famous Greek tragedy, this cinematic interpretation stays faithful to the original story, but Pasolini brings his inimitable touch to it. A sensuous delight worthy of kings. His visuals are highly textured and throb with life. Somehow this film evokes the feel of an ancient period far better than modern CG-assisted historical epics; perhaps it’s all the rough edges, very earthy. It never seeks to be fully authentic, though – e.g. the names on the way-markers are engraved in Roman, not Greek script, and the soldiers’ accoutrements seem too cumbersome to be practical (but one could look into this). Those familiar with Pasolini will instantly recognise trademarks, such as the imprecise lip-sync and the untutored acting.
About the Director: Pier Paolo Pasolini (b. 1922, d. 1975) remains a controversial figure even now. Incredibly gifted, he had a view of the world that was fierce and personal, and had the courage to express it. He offended many powerful people along the way, as his brutal murder attests. The fact remains, however, that he was no pornographer. Just a man who loved life and believed in the inherent sacredness of all things.
With regards,
The Film Club.
P.S. The Mess Party was good, wasn’t it?
We hope you all had a good time in the year past. Whatever the case may be, we’re sure that most of you will have lived it up at the changing of the guard. In recognition of the spirit of revelry, we thought it appropriate to send up A HARD DAY’S NIGHT as our first screening of the year. Hopefully, by Thursday those bloodshot eyes would have recovered, and feet would have glided back to the ground.
Tuesday
2nd January 2007
6:15 p.m. at the Auditorium
BAMBI MEETS GODZILLA (1969)
Runtime: 2 minutes
Directed by Marv Newland
The telling of this oh-so-short short would be longer than its actual duration! Take our word for it: it’s good.
Followed by
A HARD DAY’S NIGHT (1965)
Runtime: 1 hour 27 minutes
Directed by Richard Lester
It’s been a hard day’s night
And I’ve been working like a dog
It’s been a hard day’s night
I should be sleeping like a log
An honest, cheeky look at the lives of the boys from Liverpool, changed forever to a cloistered existence within the trappings of near-godhood. The Fab Four look on with bemusement, tinged with a bit of chagrin, at the wave of mass adulation they have recently been subjected to – and will have to endure for years. Behind the glitter, they had to keep up with hectic schedules, grueling studio sessions, and struggle with their identities. Shot in B&W, this movie pioneered cutting the visuals to match the beat of the music, a trait still present in contemporary music videos. Despite the limited budget, it stands as a decent movie by itself. Just imagine. Your parents and ours were shaking their legs to these tunes, so watch this movie, if for nothing else.
About the director: Richard Lester (b. 1939) worked with the Beatles in the 60s, making, in addition to the above movie, HELP (1965). His biggest box-office hits were THE THREE MUSKETEERS (1973) and THE FOUR MUSKETEERS (1974).
Thursday
4th January 2007
6:15 p.m. at the Auditorium
EDIPO RE (OEDIPUS REX) (1967)
Runtime: 1 hour 50 minutes
Directed by Pier Paolo Pasolini
“You will kill your father and make love to your mother!” – prophesy of the Oracle (or words to that effect).
The sentiment against incest is deeply rooted in our consciousnesses, a taboo so strong it is spoken of in whispers even today, a sin put almost on par with cannibalism. So too, is patricide, the killing of one’s own father. The title character commits both, though not at first aware of the fact. Based on the famous Greek tragedy, this cinematic interpretation stays faithful to the original story, but Pasolini brings his inimitable touch to it. A sensuous delight worthy of kings. His visuals are highly textured and throb with life. Somehow this film evokes the feel of an ancient period far better than modern CG-assisted historical epics; perhaps it’s all the rough edges, very earthy. It never seeks to be fully authentic, though – e.g. the names on the way-markers are engraved in Roman, not Greek script, and the soldiers’ accoutrements seem too cumbersome to be practical (but one could look into this). Those familiar with Pasolini will instantly recognise trademarks, such as the imprecise lip-sync and the untutored acting.
About the Director: Pier Paolo Pasolini (b. 1922, d. 1975) remains a controversial figure even now. Incredibly gifted, he had a view of the world that was fierce and personal, and had the courage to express it. He offended many powerful people along the way, as his brutal murder attests. The fact remains, however, that he was no pornographer. Just a man who loved life and believed in the inherent sacredness of all things.
With regards,
The Film Club.
P.S. The Mess Party was good, wasn’t it?
Friday, 22 December 2006
Result of Vote and Notes for the Fourth Week
Hi everybody,
The results are in, and the winner is Option C: SOLARIS! A big “thank you” goes out to all those who cast their votes in the Science Fiction round for the 28th. The number of respondents was small when set before the entire student population, but, all things considered, this number is enough to call the venture a success. You chose it, we’ll screen it. Here is the breakdown:
A. 2001: A SPACE ODYSSEY, 9 votes (25%)
B. NAUSICAÄ OF THE VALLEY OF THE WIND, 7 votes (19%)
C. SOLARIS, 20 votes (56%)
Total no. of votes: 36
Academic significance: Andrei Tarkovsky is the only one to get pass marks, as adjudged by the good people of NID.
Political significance: Stanley Kubrick and Hayao Miyazaki have lost their deposits.
Cosmic significance: The positive, lifegiving, yang solar force has overcome the negative yin of outer space, and both have in the process pulverized between them some speck of a planet (and a tiny valley on it).
Tuesday
26th December 2006
6:15 p.m. at the Auditorium
LENSIGHT DIPLOMA FILM: 2004-2005
By students of FTII, Pune
The Film and Television Institute of India has a well-deserved reputation for pre-eminence in this field. This compilation of sixteen diploma films is intended as a showcase for the powerhouse from Poona. Reflecting the strong practical philosophy of the institute, virtually all of the shorts are on 35mm film. As with any such collection, overall quality is uneven, but what cannot be refuted is the élan with which the budding filmmakers approach their chosen subjects. There are some real gems here. Anyone sitting through the whole thing shall be well rewarded.
This is followed by
A selection of diploma films by former students of NID.
Of this, little needs to be said. If you stayed throughout the FTII screening, we want that you stick around – to cheer on our people! Up, up, N-I-D!
Thursday
28th December 2006
6:15 p.m. at the Auditorium
SOLARIS (1972)
Runtime: 2 hours 45 minutes
Directed by Andrei Tarkovsky
A Soviet scientist is dispatched to a remote post to replace another who perished in unexplained circumstances. The scene he comes upon is a space station in orbit around a mysterious planet, named Solaris, which is suspected of harbouring intelligent life. His two colleagues are less than friendly, however, a sorry state of affairs not helped by the poor condition of the station and the sudden reappearance of his long-dead wife. More a psychodrama than out-and-out science fiction, this film explores inter- and intra-personal issues. Those who have seen Tarkovsky’s scintillating MIRROR (1975) will know what to expect, to an extent. There are (from our current perspective) several anachronisms, at the time obviously thought of as ‘futuristic’ and which now look terribly outdated. Keep an eye out for them, but be mindful of what our kids might think of THE MATRIX.
About the director: Andrei Tarkovsky stands in the top tier of all-time greats. His many works have been screened repeatedly in the auditorium; he remains a favourite, as the vote attests. Very heartwarming indeed. This writer heard from a teacher that few people in his native Russia follow Tarkovsky nowadays. A great pity, for it is in films such as the aforementioned MIRROR that one can discern the soul of a people as it was then. NOSTALGHIA (1983) and IVAN’S CHILDHOOD (1962) have something of the immortal within them.
As the year comes to a close, let us revel in the freedom that democracy affords us. Not to be melodramatic, but this is a fitting (and ironic) Christmas gift for Tarkovsky, in more ways than one.
With regards,
The Film Club.
The results are in, and the winner is Option C: SOLARIS! A big “thank you” goes out to all those who cast their votes in the Science Fiction round for the 28th. The number of respondents was small when set before the entire student population, but, all things considered, this number is enough to call the venture a success. You chose it, we’ll screen it. Here is the breakdown:
A. 2001: A SPACE ODYSSEY, 9 votes (25%)
B. NAUSICAÄ OF THE VALLEY OF THE WIND, 7 votes (19%)
C. SOLARIS, 20 votes (56%)
Total no. of votes: 36
Academic significance: Andrei Tarkovsky is the only one to get pass marks, as adjudged by the good people of NID.
Political significance: Stanley Kubrick and Hayao Miyazaki have lost their deposits.
Cosmic significance: The positive, lifegiving, yang solar force has overcome the negative yin of outer space, and both have in the process pulverized between them some speck of a planet (and a tiny valley on it).
Tuesday
26th December 2006
6:15 p.m. at the Auditorium
LENSIGHT DIPLOMA FILM: 2004-2005
By students of FTII, Pune
The Film and Television Institute of India has a well-deserved reputation for pre-eminence in this field. This compilation of sixteen diploma films is intended as a showcase for the powerhouse from Poona. Reflecting the strong practical philosophy of the institute, virtually all of the shorts are on 35mm film. As with any such collection, overall quality is uneven, but what cannot be refuted is the élan with which the budding filmmakers approach their chosen subjects. There are some real gems here. Anyone sitting through the whole thing shall be well rewarded.
This is followed by
A selection of diploma films by former students of NID.
Of this, little needs to be said. If you stayed throughout the FTII screening, we want that you stick around – to cheer on our people! Up, up, N-I-D!
Thursday
28th December 2006
6:15 p.m. at the Auditorium
SOLARIS (1972)
Runtime: 2 hours 45 minutes
Directed by Andrei Tarkovsky
A Soviet scientist is dispatched to a remote post to replace another who perished in unexplained circumstances. The scene he comes upon is a space station in orbit around a mysterious planet, named Solaris, which is suspected of harbouring intelligent life. His two colleagues are less than friendly, however, a sorry state of affairs not helped by the poor condition of the station and the sudden reappearance of his long-dead wife. More a psychodrama than out-and-out science fiction, this film explores inter- and intra-personal issues. Those who have seen Tarkovsky’s scintillating MIRROR (1975) will know what to expect, to an extent. There are (from our current perspective) several anachronisms, at the time obviously thought of as ‘futuristic’ and which now look terribly outdated. Keep an eye out for them, but be mindful of what our kids might think of THE MATRIX.
About the director: Andrei Tarkovsky stands in the top tier of all-time greats. His many works have been screened repeatedly in the auditorium; he remains a favourite, as the vote attests. Very heartwarming indeed. This writer heard from a teacher that few people in his native Russia follow Tarkovsky nowadays. A great pity, for it is in films such as the aforementioned MIRROR that one can discern the soul of a people as it was then. NOSTALGHIA (1983) and IVAN’S CHILDHOOD (1962) have something of the immortal within them.
As the year comes to a close, let us revel in the freedom that democracy affords us. Not to be melodramatic, but this is a fitting (and ironic) Christmas gift for Tarkovsky, in more ways than one.
With regards,
The Film Club.
Third Week, Dec '06
Hello everyone,
Our offerings this week are more carefree than some of our previous screenings, on account of the festive season. Tuesday’s screening is thoroughly non-analytical, something for the right side of the brain. Thursday’s child is all smiles: the sunlight shines right through, despite the black & white stock, and the film is our sending-off gesture for all who plan to go out next week. We know that a number of you were juddering back to normalcy after the convocation. If our happy intent runs against your attempts at rigor, please forgive us!
Tuesday
19th December 2006
6:15 p.m. at the Auditorium
ARIA (1987)Runtime: 1 hour 30 minutes
A collection of ten shorts by ten directors taking sequences from operas and arias. Other than the theatrical theme, they are unconnected in terms of plot, style and setting. Big names rub shoulders with more obscure personalities, so be prepared for ups and downs. For example, the "Armide" episode is done by THE John-Luc Godard, but then you also have someone like Franc Roddam, competent but far below, and in the middle Ken Russel. (Incidentally, the latter two men made movies for the British rock group The Who, a band that pioneered the "Rock Opera". The movies are, respectively, QUADROPHENIA and TOMMY. This writer is a fan.) Followers of Western Classical music will recognise immortals such as Richard Wagner and Giacomo Puccini. As to the quality of rendition, bear in mind that reconciling so many creative individuals always was an unforgiving task.
Thursday
21st December 2006
6:15 p.m. at the Auditorium
LES VACANCES DE MONSIEUR HULOT (1953)
Runtime: 1 hour 54 minutes
Directed by Jacques Tati
This film introduces the character of Monsieur Hulot, a jolly ne’er-do-well with a knack for stepping backwards into trouble. It portrays the title character on his summer vacation at a resort on the Western coast of France. The helpful and childlike M. Hulot causes unintentional chaos wherever he goes, proving that the road to Hell is indeed paved with good intentions. And his intentions are certainly the best. The film throbs with a life that finds expression in the unflappable comportment of the everyman, helped along by the charming ambient music. Most of all, the level of intimacy you, the viewer, can achieve is remarkable. A superb yarn. Just in case you do something catastrophic this Christmas – touch wood – remember this film.
About the director: Jacques Tati went on to make MON ONCLE (1958), his best-known film, again recounting the adventures of Hulot. Expensive commercial failure with the ambitious PLAYTIME (1967) did not detract from the fact that it is a masterpiece.
A reminder, if you please. By week's end the Film Club will have closed the Science-Fiction Vote for the 28th screening. If you wish to participate but have forgotten to do so, refer to the relevant e-mail dated 8th December.
Well then, have a barrel of fun!
With regards,
The Film Club.
Our offerings this week are more carefree than some of our previous screenings, on account of the festive season. Tuesday’s screening is thoroughly non-analytical, something for the right side of the brain. Thursday’s child is all smiles: the sunlight shines right through, despite the black & white stock, and the film is our sending-off gesture for all who plan to go out next week. We know that a number of you were juddering back to normalcy after the convocation. If our happy intent runs against your attempts at rigor, please forgive us!
Tuesday
19th December 2006
6:15 p.m. at the Auditorium
ARIA (1987)Runtime: 1 hour 30 minutes
A collection of ten shorts by ten directors taking sequences from operas and arias. Other than the theatrical theme, they are unconnected in terms of plot, style and setting. Big names rub shoulders with more obscure personalities, so be prepared for ups and downs. For example, the "Armide" episode is done by THE John-Luc Godard, but then you also have someone like Franc Roddam, competent but far below, and in the middle Ken Russel. (Incidentally, the latter two men made movies for the British rock group The Who, a band that pioneered the "Rock Opera". The movies are, respectively, QUADROPHENIA and TOMMY. This writer is a fan.) Followers of Western Classical music will recognise immortals such as Richard Wagner and Giacomo Puccini. As to the quality of rendition, bear in mind that reconciling so many creative individuals always was an unforgiving task.
Thursday
21st December 2006
6:15 p.m. at the Auditorium
LES VACANCES DE MONSIEUR HULOT (1953)
Runtime: 1 hour 54 minutes
Directed by Jacques Tati
This film introduces the character of Monsieur Hulot, a jolly ne’er-do-well with a knack for stepping backwards into trouble. It portrays the title character on his summer vacation at a resort on the Western coast of France. The helpful and childlike M. Hulot causes unintentional chaos wherever he goes, proving that the road to Hell is indeed paved with good intentions. And his intentions are certainly the best. The film throbs with a life that finds expression in the unflappable comportment of the everyman, helped along by the charming ambient music. Most of all, the level of intimacy you, the viewer, can achieve is remarkable. A superb yarn. Just in case you do something catastrophic this Christmas – touch wood – remember this film.
About the director: Jacques Tati went on to make MON ONCLE (1958), his best-known film, again recounting the adventures of Hulot. Expensive commercial failure with the ambitious PLAYTIME (1967) did not detract from the fact that it is a masterpiece.
A reminder, if you please. By week's end the Film Club will have closed the Science-Fiction Vote for the 28th screening. If you wish to participate but have forgotten to do so, refer to the relevant e-mail dated 8th December.
Well then, have a barrel of fun!
With regards,
The Film Club.
Friday, 8 December 2006
Schedule for Dec '06
Welcome back, everyone!
Well, actually, all of you were here at least a week ago. Some never left campus this vacation, so it really should be the other way around: The Film Club is back! Now that the convocation whirlwind is done with, we can all get back to our regular schedules. The dust will take some time to settle, though, and this time we have a few new things for you to think about, besides the usual screenings. We would like your help.
For those who do not wish to wade through long proposals, the screening schedule
comes first:
___________________________________________________
12th Dec., Tuesday, 6:15 p.m., Audi
ANIMATION SHOWREEL 2002 by NFTS (UK) students, and
TRAVAUX DE FIN D’ETUDES 1998-1999 by ENSAD (France) students
___________________________________________________
14th Dec., Thursday, 6:15 p.m., Audi
BUENA VISTA SOCIAL CLUB, dir: Wim Wenders
___________________________________________________
19th Dec., Tuesday, 6:15 p.m., Audi
ARIA, dir: various
___________________________________________________
21st Dec., Thursday, 6:15 p.m., Audi
LES VACANCES DE MONSIEUR HULOT, dir: Jacques Tati
___________________________________________________
26th Dec., Tuesday, 6:15 p.m., Audi
LENSIGHT DIPLOMA FILM: 2004-2005 by students of FTII, Pune, followed by
A compilation of diploma films by former students of NID
___________________________________________________
28th Dec., Thursday, 6:15 p.m., Audi
**SCI-FI VOTE**
___________________________________________________
The last bit caught you, didn’t it? It is part of a new initiative we decided upon, the purpose of which is to encourage greater participation by the student body, as a whole or in parts. The success of this depends on you. Think of it as an experiment.
THE VOTE: The simplest, easiest idea to implement. You can choose one film from among three science-fiction classics. Kindly refer to the accompanying e-mail, subject: “VOTE for 28th December screening”. This is based on a suggestion by a student, and we think it’s a very good one!
THE CATALOGUE: As many of you know, the various films in the institute are arranged in a rather basic manner, mostly lacking comprehensive in-house data (such as synopses) and cross referencing. It is even worse with our diploma films. This plea may be a cry in the wilderness, but if any of you want to help, you may get in touch with Mr. Kaushik Chakraborty at the Animation/New Media Lab.
THE BLOG: An attempt to directly address the interactivity issue. NID mail is not suited to lively discussion vis-à-vis the moving picture. Also, the Auditorium landing has never been famous for retaining movie-lovers, most of whom tramp off to the mess as soon as the show is over. The mess itself has seen brisk sessions – but these occur in groups. Very fragmentary, and a person sitting in one place may never know what those outside his/her cluster said. A blog would store your musings in one place for all time. Coming soon (hopefully). Any assistance would be appreciated.
REACHING OUT: This has interested students promoting the institute when they go home, in effect becoming evangelists for the Temple of Design. It may sound like a big bother, but wait: all you have to do is take back selected work, such as diploma movies on discs, and talk to, say, the people at your old school, college, social club, etc. and arrange a screening. A good way to get around, and it can only boost your prestige. You’re happy, we’re happy. E-mail or meet us in person – Sekhar (the chief), Dawa, Prachi and Deepak. It is still vague as of now. Any suggestions?
There you have it. This month is a real mixed bag. Even if you don’t want to follow up on any of these proposals, you could still send us some feedback on the screening combination. Do you favour this much variety? What do you think of week- or month-long themes?
Think on that. And see you all in the Audi.
With regards,
The Film Club.
Well, actually, all of you were here at least a week ago. Some never left campus this vacation, so it really should be the other way around: The Film Club is back! Now that the convocation whirlwind is done with, we can all get back to our regular schedules. The dust will take some time to settle, though, and this time we have a few new things for you to think about, besides the usual screenings. We would like your help.
For those who do not wish to wade through long proposals, the screening schedule
comes first:
___________________________________________________
12th Dec., Tuesday, 6:15 p.m., Audi
ANIMATION SHOWREEL 2002 by NFTS (UK) students, and
TRAVAUX DE FIN D’ETUDES 1998-1999 by ENSAD (France) students
___________________________________________________
14th Dec., Thursday, 6:15 p.m., Audi
BUENA VISTA SOCIAL CLUB, dir: Wim Wenders
___________________________________________________
19th Dec., Tuesday, 6:15 p.m., Audi
ARIA, dir: various
___________________________________________________
21st Dec., Thursday, 6:15 p.m., Audi
LES VACANCES DE MONSIEUR HULOT, dir: Jacques Tati
___________________________________________________
26th Dec., Tuesday, 6:15 p.m., Audi
LENSIGHT DIPLOMA FILM: 2004-2005 by students of FTII, Pune, followed by
A compilation of diploma films by former students of NID
___________________________________________________
28th Dec., Thursday, 6:15 p.m., Audi
**SCI-FI VOTE**
___________________________________________________
The last bit caught you, didn’t it? It is part of a new initiative we decided upon, the purpose of which is to encourage greater participation by the student body, as a whole or in parts. The success of this depends on you. Think of it as an experiment.
THE VOTE: The simplest, easiest idea to implement. You can choose one film from among three science-fiction classics. Kindly refer to the accompanying e-mail, subject: “VOTE for 28th December screening”. This is based on a suggestion by a student, and we think it’s a very good one!
THE CATALOGUE: As many of you know, the various films in the institute are arranged in a rather basic manner, mostly lacking comprehensive in-house data (such as synopses) and cross referencing. It is even worse with our diploma films. This plea may be a cry in the wilderness, but if any of you want to help, you may get in touch with Mr. Kaushik Chakraborty at the Animation/New Media Lab.
THE BLOG: An attempt to directly address the interactivity issue. NID mail is not suited to lively discussion vis-à-vis the moving picture. Also, the Auditorium landing has never been famous for retaining movie-lovers, most of whom tramp off to the mess as soon as the show is over. The mess itself has seen brisk sessions – but these occur in groups. Very fragmentary, and a person sitting in one place may never know what those outside his/her cluster said. A blog would store your musings in one place for all time. Coming soon (hopefully). Any assistance would be appreciated.
REACHING OUT: This has interested students promoting the institute when they go home, in effect becoming evangelists for the Temple of Design. It may sound like a big bother, but wait: all you have to do is take back selected work, such as diploma movies on discs, and talk to, say, the people at your old school, college, social club, etc. and arrange a screening. A good way to get around, and it can only boost your prestige. You’re happy, we’re happy. E-mail or meet us in person – Sekhar (the chief), Dawa, Prachi and Deepak. It is still vague as of now. Any suggestions?
There you have it. This month is a real mixed bag. Even if you don’t want to follow up on any of these proposals, you could still send us some feedback on the screening combination. Do you favour this much variety? What do you think of week- or month-long themes?
Think on that. And see you all in the Audi.
With regards,
The Film Club.
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