Cafard
Muppets Overtime
The End
Monday, 2 April 2007
Thursday, 29 March 2007
March 29th - Stanley Kubrick's "DR. STRANGELOVE"
Dr. Strangelove (1964)
Those were the days, when the best that the brightest minds could come up with for keeping the peace was the M.A.D. doctrine. In the making of the film, Kubrick became steadily aware of the bizarre logic behind nuclear deterrence, bordering on the lunatic (and the reason why this is a comedy). Here you will see: (1) Peter Sellers as the U.S. President (2) Peter Sellers as Dr. Strangelove, and (3) Peter Sellers as a British officer. Quite a cast!
About the director: Stanley Kubrick (b. 1928, d. 1999), undoubtedly one of the shining lights in cinema, leaves little behind of the man himself. Many speak bitterly in his wake; others defend him stoutly; neutral opinions are uncommon. He has the anomalous status of mainstream/independent. He laboured long on his films, which include Lolita (1962), 2001: A Space Odyssey (1968) and The Shining (1980).
All the best as you prepare for the juries. See you next Semester!
Wednesday, 28 March 2007
March 28th - Nishikant Kamat's "DOMBIVLI FAST"
Dombivli Fast (2005)
Runtime: 1 hour 50 minutes
Runtime: 1 hour 50 minutes
- Winner of the “Sant Tukaram Puraskar”, Pune International Film Festival, 2006
- Winner of the Jury Prize at the 4th Indian Film Festival, Los Angeles
- 4 stars, the New York Times
A remarkable film about an otherwise ordinary man who does something extraordinary. Madhav Apte, as a typical middle class Mumbaikar, faces corruption at every point in his life. He cracks in the end and goes on a rampage, cracking down on wrongdoers wherever he can find them. A tragic film, too, not because of how the story goes, but because of the context in which it is set. Sandeep Kulkarni gives a powerful performance as the lead character. The editing is sophisticated and evokes the busy feel of a city.
About the director: Nishikant Kamat started out with TV serials. He also wrote the screenplay for Neha Dupia’s Julie. This is his first outing as a movie director. He is presently molding Dombivli Fast into a Tamil version, Evano Oruvan, featuring the actor Madhavan and a Chennai setting.
Monday, 26 March 2007
March 27th - Robert Altman's "MASH"
MASH (1970)
The Auditorium at 6:15 p.m.
Runtime: 1 hour 51 minutes
Set in a U.S. military hospital during the Korean War, MASH is not so much a movie as a series of events featuring the hellion trio of Hawkeye, Trapper John and Duke. These guys are army doctors – they do great with the doctor bit, but with the army part... the less said the better! One cannot do everything, after all, not in a war. The battle zone does strange things to people. Even the officious types are a bit off, to the point of being buffoons. In the end it is all about how one copes. Gallows humor at its best.
About the director: Robert Altman (b. 1925, d. 2006) had an up-and-down career in the business. MASH was his major breakthrough, and he quickly followed it up with other [critical] successes. A slump, punctuated by Popeye (1980), dragged his banner in the dust, but he made a comeback with The Player (1992). He had a character-driven approach to making movies, frequently letting his actors improvise their pieces.
Wednesday, 21 March 2007
March 22nd - Almodovar's "WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN"
Women on the Verge of a Nervous Breakdown (1988)
Starring: Antonio Banderas
Starring: Antonio Banderas
Yet another comedy this month. This film packs in two days and two nights into one-and-a-half hours of frantic activity, throwing together teetering egos and absurd circumstances in a cascading mess. Take a handful of young women and put them through this. They are never the same again. As may be guessed, the issues of love, melodrama and grotesque humor have a lot to do with the story. We are sure a lot of you are not too familiar with Spanish-language sitcoms. This movie is higher than the run of the mill. We thought that this movie would be most appropriate for the way things are on campus these days!
About the director: Pedro Almodóvar (b. 1951) is the most famous Spanish filmmaker at present. Known for his interest in the relationships between people, especially women, he successfully combines essential humanity and the culture-specific into works of sophistication. If you like this film, be sure to catch All About My Mother (1999), which is crazier by far.
Monday, 19 March 2007
March 20th - Fellini's "LA DOLCE VITA"
La Dolce Vita (1960)
Starring: Marcello Mastroianni, Anouk Aimée and Anita Ekberg.
Starring: Marcello Mastroianni, Anouk Aimée and Anita Ekberg.
It is no coincidence that the name of the lead character’s colleague, Paparazzo, is now used to denote an overly intrusive photographer. Though the setting is ‘60s Rome, the story still has relevance in our media-saturated age, dealing as it does with themes of cultural decadence, crass sensationalism and the loss of the self. It spans barely a chronological week, yet in that time the protagonist finds his life turned inside out. Marcello Mastroianni plays the lead as a reporter and is surrounded by an array of others, including Anita Ekberg as an actress. La Dolce Vita is widely considered to be the most famous European film of the 1960s.
About the Director: Federico Fellini (b. 1920, d. 1993) is a fixture on every collector’s wish list. Audi regulars will remember the recently screened 8½, but one example from his impressive body of work. La Dolce Vita marks the juncture between his earlier Neo-Realism [as with La Strada (1954)] and his later, ‘artier’ work [as with 8½ (1963)].
About the Director: Federico Fellini (b. 1920, d. 1993) is a fixture on every collector’s wish list. Audi regulars will remember the recently screened 8½, but one example from his impressive body of work. La Dolce Vita marks the juncture between his earlier Neo-Realism [as with La Strada (1954)] and his later, ‘artier’ work [as with 8½ (1963)].
Thursday, 15 March 2007
March 15th - Martin Scorsese's "KUNDUN"
KUNDUN (1997)
Directed by Martin Scorsese
Runtime: 2 hours 15 minutes
DVD blurb: “Praised as one of the best films of the year, Kundun is a motion picture masterpiece directed by five-time Academy Award™-nominated director Martin Scorcese. It’s the incredible true story of one of the world’s most fascinating leaders – Tibet’s Dalai Lama – and his daring struggle to rule a nation at one of the most challenging times in its history. Powerfully told and set against a background of world politics – the film’s release created an international uproar! Featuring a striking, Oscar®-nominated score by renowned composer Philip Glass, this extraordinary Motion Picture has been greeted with both controversy and critical acclaim – experience it for yourself!”
Directed by Martin Scorsese
Runtime: 2 hours 15 minutes
DVD blurb: “Praised as one of the best films of the year, Kundun is a motion picture masterpiece directed by five-time Academy Award™-nominated director Martin Scorcese. It’s the incredible true story of one of the world’s most fascinating leaders – Tibet’s Dalai Lama – and his daring struggle to rule a nation at one of the most challenging times in its history. Powerfully told and set against a background of world politics – the film’s release created an international uproar! Featuring a striking, Oscar®-nominated score by renowned composer Philip Glass, this extraordinary Motion Picture has been greeted with both controversy and critical acclaim – experience it for yourself!”
Wednesday, 7 March 2007
March 8th - David Lynch's "BLUE VELVET"
Set in the small, quaint town of Lumberton, Blue Velvet begins with the protagonist (MacLachlan) discovering a severed human ear - which he takes to the police. He begins to investigate the matter himself, and discovers a seamy underworld within Lumberton, involving a bizarre homicidal kidnapper (Hopper), and a seductive, mysterious night-club singer on the verge of a breakdown (Rossellini).
Blue Velvet opened to great critical acclaim in 1986, and was a box office success, considering its limited release in theatres. The film has since become a cult classic, noted for its use of surrealism, dreamlike aura, neo-noir and examination of the dark-side of America, and has spawned several inferior imitations.
Tuesday, 6 March 2007
March 6th - Woody Allen's "bananas"!!!
When bumbling product-tester Fielding Mellish (Allen) is jilted by his girlfriend, Nancy (Louise Lasser), he heads to the tiny republic of San Marcos for a vacation... only to become kidnapped by rebels! Once the band of rebels seize power, their leader goes crazy and they replace him with Mellish, thinking he can save the country. But when Mellish is nabbed by the FBI, he is put on trial for subversion and in a side-splitting courtroom showdown - including the most hilarious self-cross examination ever - Woody Allen proves beyond a doubt that he is not only our most gifted satirist... he's a master comic artist.Woody Allen's second film as director, co-writer and star takes parody to the extreme with a brilliant send-up of everything from relationships to dictatorships. An early example of what Allen called his 'slapdash' approach to comedy, Bananas' broad, fast humour and rapid-fire witticisms form a dazzling kaleidoscope of inspired ingenuity and comic artistry.
Tuesday, 27 February 2007
Fourth Week, Feb '07
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.
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.
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.
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