Bengali | Subs: Castellano/EN/FR/IT (muxed)
98 min | x264 1280x960 | 2970 kb/s | 192 kb/s AC3| 23.97 fps
98 min | x264 1280x960 | 2970 kb/s | 192 kb/s AC3| 23.97 fps
2,18 GB
El salón de música
A
principios del siglo XX, en el palacio Nimtita, en Bengala, un
terrateniente, al oir la música de la fiesta que da su arrogante vecino
con motivo de la iniciación de su hijo, recuerda el gran recital que
organizó por la de su propio hijo, así como los importantes
acontecimientos que sucedieron después en su vida.
La historia de una desolación personal y escenográfica, muy visual y sin
casi diálogos pues a su director le parecía que incluso la voz en off
es ruido. El protagonista es un amante del sorbete y del sitar, rodeado
de sus siervos y de sus caballos, que vive de los ingresos de sus
tierras, sumido en una lenta desintegración desde el nacimiento de la
India independiente. Imágenes bellas y delicadas, nada rebuscadas pero
de gran profundidad, un cineasta valiente e inteligente y que del mismo
modo trata al espectador; toda una reconciliaciòn con un cine que
difìcilmente volverá.
Descubrí esta hermosa película hace varios años gracias a saynomoreglass
Made during Satyajit Ray's late '50s creative peak, The Music Room
is often overshadowed by the Apu trilogy. A commercial failure, it was
released between the second and third films in the series, Aparajito and
Apur Sansar, but over the years it has come to be regarded as one of
his greatest achievements. The story of a nobleman ruined by hubris and
consumed by regret, it exhibits the emotional depth and visual richness
that distinguish Ray's best work, and features a performance by Chhabi
Biswas in the lead role of Huzur Biswambhar Roy that is nothing less
than devastating. (Ray held Biswas in such high regard that after his
death in 1962 Ray simply stopped writing roles for middle-aged men.)
Biswas' Roy is a portrait of tragic arrogance. Obsessed with throwing
lavish concerts in his mansion both to maintain his social status and to
indulge in the pleasures of music, he neglects his family until the
deaths of his son and wife and the loss of his fortune leave him alone
in his decaying mansion with only his guilt, and a single long-suffering
servant, to keep him company.
It is a mark of Ray's talent as a director and Biswas' skill as an actor
that he remains a sympathetic character to the end, when he stages one
final concert to show up his crass, upwardly mobile neighbor Mahim
Ganguly (Ganga Pada Basu). A single lingering shot of Roy's face as he
is transfixed by a musical performance or reflecting on the mistakes of
his life says more than any number of pages of dialogue. The concert
sequences are stunning in themselves. Ray hired some of the finest
musicians in India for the film, and their performances, shown in their
entirety, add another layer of richness to one of Ray's best works. Tom Vick
Le Salon de musique
Inspiré
du roman éponyme de Tarashankar Bandopadhyay, le film est une étude
détaillée et dramatique des derniers jours d'un zamindar (un
propriétaire terrien semi-féodal du Bengale). Ce film raconte le déclin
d'un aristocrate de la caste des Zamindars, propriétaire terrien et
mécène. Imbu de la noblesse de ses origines, il sacrifiera sa fortune et
sa famille pour sa passion pour les arts en donnant des réceptions
ruineuses dans son salon de musique. Raconté avec un sens du détail et
de l'empathie typiques des films de Ray, Jalsaghar a reçu de nombreux
éloges dans le monde entier (par exemple celui de Bosley Crowther dans
The New York Times ou celui de Derek Malcolm dans The Guardian). Il est
analysé dans le second volume de Roger Ebert, Great Movies, comme un
film décisif du cinéma mondial.
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