A moment when a man, washing down the head of a young girl who’s grubby as can be, happens to ask her how old she is, and realizes, with a start of embarrassment, that she’s not the kid he’s imagined her to be, but a young woman.
A moment when a girl, grateful for the support and friendship of a crippled man, hugs him—and he, after a moment of euphoria, realizes that the love is all on his side; she does not see him as a lover, but as a friend, perhaps as something like an elder brother.
A moment when a crippled man, desperate to be ‘normal’ again, rises painfully up on crutches, grins in triumph—and crashes to the floor the next instant.
April 2013 has a special significance: this month marks 100 years of Indian cinema. The country’s first indigenously produced full-length feature film, Raja Harischandra, made by the legendary Dhundiraj Govind ‘Dadasaheb’ Phalke, was shown to a select audience at Bombay’s Olympia Theatre, on 21st April, 1913.
(Note: There is some controversy about this; some film historians believe that Shree Pundalik, 1912, was the first full-length feature film).
But. Celebrating the centennial of Raja Harischandra seemed good enough reason to dedicate this month to Indian cinema. Not just Hindi cinema, as I have been prone to do, but Indian regional cinema. I am painfully aware that the only regional language cinema I’ve reviewed so far has been Bengali, so this is a good place to make a start. April 2013 on Dusted Off is going to be when I set about exploring more of cinema from across the country.
I thought it appropriate to begin with Raja Harischandra itself.
The highlight of last week was—no, not an old film that I watched at home, but a new film that I watched in a cinema theatre. The Artist. A couple of friends, both people with excellent taste in cinema, recommended it to me. So I wheedled my husband into coming to watch The Artist.
And, oh. What a film. What a wonderful combination of humour, emotion, heart-breaking sorrow—and hope. It’s been a long, long time since I saw a new film that made me gush so much. (Yes, well; that probably also had a lot to do with the fact that the gorgeous Jean Dujardin is very gushworthy).
As Samir pointed out in a comment on my last post, Pyaasa was one of the films (in fact, the only Hindi film) to find a place on TimeMagazine’s all-time 100 best films list. That’s something Pyaasa shares in common with this film. Metropolis, a silent film made in Germany thirty years before Pyaasa, is also on the list. It was directed by Fritz Lang, who co-wrote the screenplay along with his wife Thea von Harbou. The result is a film like none other.