Language: Urdu & English (with English .srt subs for Urdu dialogues)
Country: India

Description:
In 1977's The Chess Players, Satyajit Ray, India's "extraordinary filmmaker" (George Lucas), turned his celebrated eye for everyday life on his own country's troubled history. Made during Prime Minister Indira Gandhi's era of press censorship and curtailed constitutional rights, The Chess Players dared to examine India's future through its past.

In the kingdom of Awadh, rich landowners Meer (Saeed Jaffrey, The Man Who Would Be King) and Mirza (Sanjeev Kumar, Sholay) pour every ounce of passion into a never-ending game of chess. At the same time, an ambitious British General (Sir Richard Attenborough, Jurassic Park) plots his own moves against Awadh's King (Amjad Khan) and Prime Minister (Victor Banerjee, A Passage to India), in the hope of taking the region for his Queen. Heedless of their political and family responsibilities, Mirza and Meer keep playing. But as British soldiers march on their homeland, an innocent game escalates into deadly confrontation and catastrophic loss. Rich, poor, winner or loser, everyone is revealed to be history's pawn.

A film of "exquisite performances" (Variety) and epic sweep, The New York Times praised The Chess Players for "the manner in which an entire civilization has been encapsulated in a few particular gestures." Adapted from a short story by Hindi author Munshi Premchand, The Chess Players evenly examines both colonial greed and Indian aristocratic indolence with the same dramatic scrutiny. His first-ever historical drama, The Chess Players is imbued with the same "deep observation, understanding and love of the human race" (Akira Kurosawa) that made Satyajit Ray one of the preeminent figures of international cinema.

atyajit Ray's gently satiric parable The Chess Players reminds us that, in the days before America's machinations in Iraq, we had the British East India Company running roughshod in much same way in India. Ray opens his movie with a documentary-style recap of the Company's mid-19th century wheeling-dealing in Oudh, a wealthy province in northeastern India. The Company had Oudh's king, Wajid Ali Shah, by the balls: If the king agreed to finance the Company's regional ambitions, and even supply it with necessary troops, it wouldn't meddle in or usurp the king's power. By 1856, though, the British, eager to fatten their imperial coffers, broke their détente with King Wajid, and instructed their local operative, General Outram, to do whatever it takes to roll into Oudh and take charge.

The Chess Players was something of a departure for Ray: Aside from its large budget—at least by Ray's standards—and use of popular Bombay actors, it was also his first and only foray into a culture and language outside his native Bengal, namely the Mogul, Urdu-speaking enclave of Lucknow, the capitol of Oudh. Yet, for all its challenges, Ray's adaptation feels as easy and assured as anything he ever made. And, while The Chess Players isn't as rich or provocative a character study as Ray's greatest works, it's a pleasurable showcase of his comic and dramatic sensibilities.

Mirza (Sanjeev Kumar) and Meer (Saeed Jaffrey), two Lucknow noblemen, are so enamored of chess playing that they're oblivious to the political and domestic upheavals around them. While Mirza's wife wiles away in her bedroom, cross and neglected, Meer uses her husband's all-day devotion to chess playing as an opportunity for some cuckolding. These guys are too tuned-out, however, too buffoonish to pick up on these clues. Likewise, they blissfully shrug off rumors of the East India Company's troops imminently laying siege to their pleasure haven and deposing their king.

In adapting Prem Chand's short story, Ray cleverly juxtaposes the chess players' quotidian pleasures of pompous banter and hookah smoking, all the while hunched over their ivory chess pieces, with scenes of General Outram (played with oily conviction by Richard Attenborough), as he deliberates with King Wajid (Amjad Khan), anxious to plant the Union Jack atop his palace, and expand the Queen's empire. While Ray stays true to King Wajid's reputation as a harem-happy sybarite, he also punches up his more sympathetic qualities: namely, that he's observantly religious, and a devout patron of dance, poetry, and music. With his mournful eyes and humble delivery, Amjad Khan ably appeals to our hearts, not least because we share his moral puzzlement over Outram's insidious maneuverings.

The Chess Players takes its time to play out, but it gracefully holds our attention. Ray's camera may be purely functional, but it's not without a certain slyness that winks at the viewer every now and then: When Mirza leaves their chess game to tend to his distraught wife, warning Meer not to alter the position of the pieces, the camera watches as Meer's impatiently waits for his return. Finally, after checking for eavesdroppers in the hallway, he reaches in and does exactly what Mirza suspected he would. Mirza misses the act, but Ray's camera does not: Panning with him back into the parlor, the camera catches Meer from behind a slit in the drapery to spy his hand in flagrante. Those amusing touches, along with sharply observed gestures pointing to class differences and domestic disquiet, let us know that Ray's movies live between the lines, in those offhand but brilliantly revealing nuances of human behavior.

Jaffrey's whimsical and doting Meer perfectly offsets Kumar's proud, boastful Mirza, and, as the political temperature of the story rises and their attempts to keep playing their game borders on the desperate and bungling, there's an antic glee to Ray's telling. The mannered goofiness of The Chess Players echoes the pastoral comedy of Days and Nights In the Forest while the Raj-era dancing-girl trappings recall the decidedly grim The Music Room. Finally, as their worlds as well as their friendship hang in the balance, we find ourselves wistful for Mirza and Meer's futures. For we realize that it's not ignorance but pure terror that keeps them from admitting their crumbling realities to themselves and clinging to a game, to a state of suspended denial. To a war that's only pretend.

Devi (1960) - Satyajith Ray

Roy has a revelation in a dream that his daughter-in-law Doyamoyee is an incarnation of the goddess Kali. He insists she be worshiped. Then, a dying child is placed at her feet and he is miraculously cured. As the news spreads, the aged, sick and the poor come in hundreds; seeking cures and comfort. As Doyamoyee's husband Umaprasad learns about the events, he returns home to her rescue. Umaprasad attacks the tradition and tries to reason with his father and tells him that he has gone insane. The father is unmoved. To him, the miracle cure demonstrates the truth of the his beliefs.

Country: India
Language: Bengali
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Apur Sansar (The World of Apu) (1959)

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Pather Panchali (Song of the Little Road) (1955)
BY- Satyajith Ray










1. Pather Panchali (1955) aka Song of the Little Road

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The Apu Trilogy is a trilogy consisting of three Bengali films directed by Satyajit Ray: Pather Panchali (Song of the Little Road), Aparajito (The Unvanquished) and Apur Sansar (The World of Apu). The films—completed between 1955 and 1959—were based on the novels of the Bengali author Bibhutibhushan Bandopadhyay. The original music for the trilogy was composed by Ravi Shankar.

Produced on a shoestring budget [1] of Rs. 1.5 lakh ($3000)[2] using an amateur cast and crew,[3] the trilogy was a milestone in Indian cinema and remains one of the finest examples of Parallel Cinema. The three films went on to win many national and international awards, including three National Film Awards and seven awards from the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest films of all time.

Pather Panchali (Song of the Little Road) (1955)
Aparajito (The Unvanquished) (1956) - Satyajith Ray
Apur Sansar (The World of Apu) (1959) - Satyajith Ray
   

IMDB Comment:

One doesn't expect anything other than excellence from the legendary Ray's work and 'Ghare Baire' (Home and the World) follows the same path. 'Based on the Nobel prize winner, Ranbindronath Tagore's novel, it focuses on the relationship of a woman with her husband and his best friend. Almost 10 years into her marriage, she is happy with her husband but craves for something more. Unlike many women of the time, her husband gives her complete freedom allowing her to live her life the way she wills. He himself is impressed by the British lifestyle and his his wife learn English. He's also very connected to his own Bengali route. Then enters his revolutionary and stubborn friend who is obsessed of having the country get rid of everything English. The husband and his friend have contradictory viewpoints. Yet, he welcomes his friend and never objects to his motivations, as long as he's within his limits. The wife is impressed and intrigued by his friend's political ambitions and is gradually drawn towards him (or he draws her towards him) until they embark in an affair and then the truth becomes more apparent...to everyone, but it's too late.

Ray really takes his time to tell us the story, to let us get to know the characters and clearly display the relationships between them and explain the political situation. He does one hell of a job doing it. He shows the development of the wife's 'relationship' with the friend as her marriage becomes weaker while her husband is hauntingly passive yet trying to understand both his wife and his friend as he is the one who truly loves her and he tries to carry out his social obligations towards his people. We see that the wife learns more about the political dilemmas in the outside world but only from the friend's point of view. Then, as one reviewer, has pointed we are drawn into a web of dilemma's between England and India, modernism and tradition, Hindu and Muslim, rich and poor, men and women, leadership and rabble-rousing, greed and sacrifice, means and ends and love and infatuation.

Master filmmaker that he is, Ray puts it all together in one of the most remarkable way that it does not deviate from the main plot. Ther performances are superb. Victor Bannerjee gives a very intense but subtle performance. In the end, one realizes that it is his character one feels most for. Contrastingly, though Soumitra Chatterjee is more vocal, he makes full use of his nonverbal language, hinting the character's deceitful intentions. Swatilekha Chatterjee plays a very difficult part with tremendous ease. She completely owns the role. Supporting cast are all very good. Ray also makes adequate use of the background score and the cinematography is wonderful. Watch for the camera angles and movement.

Truly a mind-blowing film and I always thought that there aren't enough words that can do justice to describe the excellence of Ray's films. I've only made an attempt and I'm still far behind. Just watch it to see what I mean. Only those who appreciate real cinema will understand.

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http://www.imdb.com/title/tt0100587/

This is one of Satyajit Ray's movies shot and released just before he died. Starring Ray regulars who I can say are the Brandos and Pacinos of Bengali cinema this film is one of a kind – Deep and intellectual. It is a story of a family who was hastily assembled together in a colonial mansion by the deathbed of its patriarch who has suffered from a heart attack. The father is an idealist who was a freedom fighter and still is active in politics hoping that something could be done to correct the path the country (India) has taken (post independence) and stem the rot that had set in society. Gathered by his side are his sons who have all carved a distinct path through the maze we call society. Yes! They are successful. But his sense of failure comes from the fact his ideals and values have not seeped into the conscience of his off springs. The film shows the audience why and how that happened. Ultimately it's all about the rot that has set in the moral fabric of his family and his feeling how can he correct the society if he can't instill the same values in his family? This ultimately contributes to his sorrow, frustration and finally his death.

Had this film been a Hollywood project helmed by a A listed director and starring A listed actors this surely would have dominated the Oscars that year. The development of the story is brilliant and so is the direction (its Ray for crissakes) but people who don't like slow moving artsy movies won't share my sentiments. That's for sure. But for connoisseurs of Ray it's a classy picture. Do yourself a favor. Watch it! (From IMDB)

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