Satyajit Ray Critical Essays - eNotes.com.
Satyajit Ray’s The Music Room (Jalsaghar, 1958) was rather different from his two earlier and more well-known works, Pather Panchali (1955) and Aparajito (1957). This time, instead of a multi-perspective, naturalistic account, the film focuses on a single character whose aesthetic obsessions isolate him from the world around him.Like all great film-makers, Ray belonged to the world as much as to his own nation. But The Music Room leaves no doubt where his heart lay. It was with his own people, warts and all.In his first films, the acclaimed Pather Panchali and Aparajito, the great East Indian filmmaker Satyajit Ray eschewed the song and dance interludes that were part of the conventions of domestic Indian cinema. The Music Room (1959) features both song and dance but not in the way of popular cinema.
It was this film that led to the French to pay attention to Ray and his films. Initially the film drew mixed responses from the critics abroad. It is tempting to draw parallels with his later film Shantranj Ke Khilari (The Chess Players, 1977), Roy in Jalsaghar (The Music Room, 1958), and Wajid Ali Shah in Shatranj Ke Khilari, both, share an obsessive and doomed love for music that leads to.Filmmaking of Satyajit Ray Through out his career, Satyajit Ray maintained that the best technique of filmmaking was the one that was not noticeable. For him, technique was merely a means to an end. He disliked the idea of a film that drew attention to its style rather than the contents.
Back in Calcutta, Ray met Jean Renoir, who was then filming The River, and who encouraged Ray in his dream of filming Pather Panchali, a popular book in India. With virtually no financial backing, and using nonprofessional actors, Ray finished the film, but only after three years and several interruptions.
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