Subarnarekha remains as a fascinating film. It has a typical Bengali flair, but Ghatak experiment in editing and camera technology.
The Brahmin Iswar Chakraborty (Abhi Bhattacharya), the (Indrani Chakrabarty) lives with his little sister Sita in the camp, decides to take care of Abhiram. Soon after, the trio moves to a place by the river Subarnarekha where Ishwar has found a job as a factory manager. Years later he took over the factory entirely. From Sita (Madhabi Mukherjee) has become a beautiful woman and as Abhiram (Satindra Bhattacharya) returns from his studies in London, he falls in love with her. But Ishwar will not allow the relationship to a person belonging to a lower caste and organized a marriage. Sita and Abhiram burn matter through to Calcutta.
For director Ritwik Ghatak (Meghe Dhaka Tara) was, as for so many Bengali directors who partition of India a lifetime reverberating Drama. The border regions of present-day India, like Kashmir, the Punjab or Bengal just suffered especially under the division because refugees inserting in both directions and formerly belonging together was divided territory. The partition of 1948 processed Ghatak also in Subarnarekha, so evident in the early stages, when it comes to the lives of refugees. However, the partition will remain the rest of the movie about a theme and shadow in the background, because Ghatak uses Ishwar's ideological hard hazard awareness and passivity as a symbol of the inability of SMEs to halt the separation. Just as the middle class allowed the disintegration of India, Ishwar leads to the disintegration of his family here.
The middle class is also generally under the wheels, because it is only the stubborn caste of the Ascended in the SME sector Ishwar's that causes the disaster in the film. Especially towards the end to pass a couple of truly hard dramas and Ghatak's blame is clear. But, and make sure the last minutes of the film, there is hope - even on a fresh start and to moral redemption. Despite the depressive moments Subarnarekha ends quietly confident way. Sadly, but not entirely hopeless.
But before that you have to go through a few small lengths. The drama is praised by critics as a masterpiece full page, but it does have its little problems. So it makes the structure their time jumps somewhat episodic and slow, especially in the middle part, which also has a few songs too. The basically very commendable because innovative aesthetics can not maintain over the entire run length of the same quality. Individual scenes are simply brilliant filmed, others more profane.
For trumps Subarna-Rekha. Quiet and safe at about Ghatak's staging between naturalism and theatricality easier, given the complexity of the plot, the experimental use of music and the actors. Protagonist and Bollywood Abhi Bhattacharya Supporting Actor (1921-1993) must inevitably be a bit passive, but behind his thick glasses goes against much. Similarly, in the always impressive Madhabi Mukherjee after the Satyajit Ray classics here Mahanagar and Charulata again shows a strong performance.
That's not enough fully to at Ghatak's most famous work Meghe Dhaka Tara get hold, but Subarnarekha remains as a fascinating film. It has a typical Bengali flair, but Ghatak experiment in editing and camera technology. A gradual zoom away from Sita's face produced, for example, within seconds of drama. Such rapid change often give the film something disturbing, something that should be true in the last part. Subarnarekha draws strength from this climate of insecurity. The nation is divided, the family is crumbling and nothing seems to be there, that this decay could stop. No light fare.
Guna opens with a nighttime sequence shot over 2 minutes, which reviews a brothel in Hyderabad starting from the surrounding streets and past the balconies and windows open and ends on the roof where Kamal Hassan is balanced on a leg in a posture of greeting to the full moon. This virtuoso sequence as little sees in Indian cinema generally not adept technical feats, is only one of several elements that makes Guna a single film.
Guna is mentally retarded a little psycho, but also very obsessive, which believes to be God. He grew up in the red light district of Hyderabad, and hates that. One of his companions asylum, told him long ago that the Goddess Abirami would one day find the full moon, to marry and leave her misfortunes by washing of sins. Since then, he relentlessly seek and has that word in his mouth: Abirami, Abirami, Abirami ...
Despite his mental state, he has a talent: he can open any lock or trunk. Exploiting this gift, his uncle used in dubious schemes. During an expedition that was to rob a wealthy temple, he sees the beautiful Rohini, and let all in plan. It is the revelation: he found his Abirami. Without waiting he takes with him, pursued by the police and his uncle, who does not want to let slip his goose that lays golden eggs.
The whole film is centered on its title character, and throws a cynical look on his fate and even more about the world around unhealthy. In this environment, Guna is immediately likeable character. It is naive, somewhat spoiled by nature - even his gift is a poisoned chalice - but profoundly good. The film describes the character, analysis, casting a look outside almost detached. While inspiring compassion, the protagonist is never mélodramatisé beyond some extent, much less glorified. The first third of the film presents the second recounts his mare with Rohini / Abirami culminating in an abandoned church atop a hill, and the final third is a camera in a cave. The film follows a trend increasingly introspective. It normally starts and the mare allows characters to be discovered, and finally when they become locked into the cave, the characters reveal themselves. Meanwhile, tensions rise and police research is indicating it feels draw a necessarily fatal.
The scenario is one such model, both for its innovative psychological and symbolic depth, but also consistent with what is expected of a Tamil drama. The religious symbolism is very present, with the full moon, the postures taken by Guna, and multiple references to mythology. There is also of course the fact that AC is precisely in a temple he meets that he believes Abirami in an abandoned church he found refuge in a cave and, as a return to the origins of the Man, he found some peace. Guna wants atone for his sins by uniting with Abirami goddess, an incarnation of Goddess Parvati, and even dreams of lingam , symbol of Shiva (who is also the husband of Parvati).
In fact, the only weak point is the character Rohini / Abirami. When she finds herself locked up with Guna, she succumbs too easily. Although the naivety and sincerity of the latter are more attractive than the cynicism and venality of the world she has also suffered, everything is a little too fast to be brought fully credible. Apart from this point of detail, Roshini actress in this role is excellent. It has the beauty of a lunar goddess appearing on the full moon, and his nuanced game is impeccable. But it is obviously Kamal Hassan in the title role, which carries the film on his broad shoulders. It is perfect in mentally retarded, with his gaze lost but determined, and his eyes light up when he thinks he has found Abirami ... His performance is extraordinary, at the height of his character.
Technically the film is among the most successful of the 90s we saw with the clip opening, the realization is the highest level. This control is reflected in the staging in general, but technically speaking expresses in this sequence. The rest adopts a more sober tone in the study of the character. The film, however, is studded with rich visual ideas: the sequence of 'breaking' of the temple, the little Portuguese church atop a hill, the cave and the forest that surrounds it, the full moon, with its orange headband Guna decorated with bright Aum red, are all images and passages that mark provided that the provision of Kamal Hassan. Photography there is probably not unrelated. It is tinged with warm colors (Kamal Hassan has never looked tanned) and dark shades are especially effective in the passages of the cave.
If at the time Guna has not met with great public success, it probably was too innovative for its time. Its depth has baffled the public, especially since it came out at about the same time as Thalapaty . Ambitious and unclassifiable, this is a film at the crossroads of genres that blend psychological drama, thriller and mythological references. Complex work requiring multiple viewings to deliver all its secrets, Guna is undoubtedly one of the best Tamil films of the 90s, and one of the most impressive performances of Kamal Hassan.
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