Anni Cinquanta, L'età Dell'oro: Classici Indiani Da

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Anni Cinquanta, L'età Dell'oro: Classici Indiani Da ANNI CINQUANTA, L’ETÀ DELL’ORO: CLASSICI INDIANI DA SALVARE The Golden 50s: India’s Endangered Classics Programma a cura di / Programme curated by Shivendra Singh Dungarpur, Film Heritage Foundation In collaborazione con / In collaboration with National Film Archive of India e Films Division, Government of India Note di / Notes by Rajesh Devraj, Shivendra Singh Dungarpur, Arun Khopkar, Saeed Mirza, Kumar Shahani e Uma Vangal 82 Sono figlio degli anni Settanta, ma ho vissuto e respirato il I was a child of the 70s, but I lived and breathed the cinema of cinema degli anni Cinquanta. Nelle sere d’estate mio nonno the 1950s. On summer evenings, my grandfather would bring ci portava quelle magnifiche pellicole e ce le mostrava con il those wonderful prints and screen them for us with his projec- suo proiettore. La magica sequenza onirica di Awara di Raj tor: the magical dream sequence of Raj Kapoor’s Awara, the Kapoor, l’intensità poetica dei film di Guru Dutt, la verità poetic intensity of Guru Dutt’s films and the universal truth universale incarnata dalle storie di Bimal Roy: per me il ci- captured in the stillness of Bimal Roy’s narratives. To me cinema nema era vivo e palpitante, e Kaagaz ke Phool mi invogliò a was vibrant and breathing, and Kaagaz ke Phool made me fare il regista. want to become a filmmaker. Negli anni Cinquanta l’India era un paese di recente co- India in the 1950s was a country newly born, freed from the stituzione, da poco affrancatosi dal colonialismo e pieno shackles of colonialism, full of hopes and aspirations. Industri- di speranze e di aspirazioni. Con l’industrializzazione e la alization and Partition made migration a way of life. The cities Partizione, l’emigrazione divenne uno stile di vita. Le città beckoned with dreams of opportunity and prosperity, but also promettevano benessere e nuove opportunità ma anche, nei with the reality of exploitation, crime and slums. This age saw bassifondi, una realtà fatta di sfruttamento, crimine e pre- the birth of a new breed of filmmakers who turned their backs carie condizioni di vita. Quegli anni videro la nascita di una on mythology and historical dramas. Their narratives leaned nuova generazione di registi che voltò le spalle alla mitologia heavily towards social commentary, as leftist artists were drawn e ai drammi storici. I loro film tendevano fortemente ver- to cinema, viewing it as a powerful evangelical medium. Ital- so la critica sociale. Gli artisti di sinistra erano attratti dal ian neo-realism found its way to Indian shores, and Vittorio cinema, che vedevano come un potente mezzo per convin- De Sica’s Bicycle Thieves struck a chord with Indian film- cere e fare proseliti. Quando il neorealismo italiano riuscì makers who discovered that the reality of the human struggle ad approdare in India grazie a Ladri di biciclette di Vittorio was a universal truth. Bimal Roy (1909-1966), Raj Kapoor De Sica i registi indiani scoprirono che le lotte dell’uomo (1924-1988), Guru Dutt (1925-1964), Mehboob Khan erano un’istanza universale. Bimal Roy (1909-1966), Raj (1907-1964), S.S. Vasan (1903-1969) and Ritwik Ghatak Kapoor (1924-1988), Guru Dutt (1925-1964), Mehboob (1925-1976) were among these ‘rebel’ filmmakers who made Khan (1907-1964), S.S. Vasan (1903-1969) e Ritwik Gha- the 1950s the most glorious chapter in the history of Indian tak (1925-1976) erano alcuni dei registi ‘ribelli’ che fecero cinema – truly the Golden Age. degli anni Cinquanta il capitolo più glorioso della storia del It was difficult for me to choose just eight films from the three cinema indiano, la sua vera Età dell’Oro. major film industries of the time – Bombay, Madras and Cal- Per me è stato difficile scegliere solo otto film tra tutti quel- cutta. Chandralekha (1948), Awara (1951), Do Bigha Za- li prodotti dalle tre industrie cinematografiche dell’epoca: min (1953), Ajantrik (1957), Mother India (1957), Pyaasa Bombay, Madras e Calcutta. Chandralekha (1948), Awara (1957) Madhumati (1958) and Kaagaz ke Phool (1959): (1951), Do Bigha Zamin (1953), Ajantrik (1957), Mother each of these eight films represents an innovation in thought, India (1957), Pyaasa (1957), Madhumati (1958) e Kaagaz form or style. In keeping with the tradition at the time, I have ke Phool (1959): ciascuno di questi film rappresenta un’in- also picked eight newsreels to precede each of the feature films. novazione dal punto di vista del contenuto, della forma o These are an important record of the time, presenting a histori- dello stile. In sintonia con la tradizione dell’epoca, ciascun cal context for the films in the retrospective. lungometraggio sarà preceduto da un cinegiornale che for- These films represent a rich and varied cinematic heritage that nirà un contesto storico ai film proposti. is in danger of becoming extinct. 1700 silent films were made Queste opere rappresentano un patrimonio cinematografico in India of which only 5 or 6 complete films remain. Tragically, ricco e vario che rischia oggi di scomparire. In India furono we have lost our first sound filmAlam Ara (1931). By 1950, girati 1700 film muti, dei quali sono sopravvissuti solo cin- India had lost seventy to eighty per cent of its films and this has que o sei titoli completi. Tragicamente abbiamo perduto il been the result of a widespread and complacent belief that film nostro primo film sonoro, Alam Ara (1931). Nel 1950 l’In- will last forever. We now realize that these eight classics too are dia aveva già perso il settanta-ottanta per cento dei suoi film: in imminent danger of being lost to the world if urgent steps are era la conseguenza della diffusa e presuntuosa convinzione not taken for their preservation and restoration. Screening these che la pellicola fosse eterna. Oggi sappiamo che anche que- films is not just a reminder of a singular cinematic legacy, but sti otto classici corrono il concreto rischio di scomparire se one that is endangered and must be saved. non si interviene tempestivamente con progetti di conserva- Shivendra Singh Dungarpur zione e restauro. La proiezione di questi film non serve solo a confermare l’unicità di un patrimonio cinematografico, ma a ricordare che esso va salvato al più presto. Shivendra Singh Dungarpur 83 CHANDRALEKHA ascesa al trono rispecchiavano infine lo Filmed originally in Tamil and later in India, 1948 Regia: S.S. Vasan stato d’animo della nuova nazione. Hindi, Chandralekha was in its time In superficie, Chandralekha è carat- the most expensive film made in India. █ Sog ., Scen .: Gemini Story Department terizzato da trama e ambientazioni Directed by showman S.S. Vasan, the (K .J . Mahadevan, Subbu, Sangu, Kittoo, spettacolari. Nel buio della sala cine- owner of Chennai’s Gemini Studios, the Naina) . F .: Kamal Ghosh . M .: Chandru . matografica, tuttavia, il film si spinge film brought the scale and vision of the Scgf .: A .K . Sekar . Mus .: S . Rajeshwara oltre l’intrattenimento puro e sempli- Hollywood spectacular to indigenous Rao, M .D . Parthasarthy, R . Vaidyanathan, ce per stabilire una profonda intesa themes, creating a nationwide hit that B . Das Gupta . CanzoniPapanasam: con il pubblico facendo riferimento still features in every list of landmark In- Sivan, Kothamangalam Subbu . Int .:a concezioni condivise di valore e co- dian films. It was hugely influential, set- T .R . Rajakumari (Chandralekha), M .Kraggio . e proponendo personaggi che ting production and publicity standards Radha (Veer Singh), Ranjan (Shashank), fanno di tutto per essere all’altezza di for the Bombay blockbuster. A robust Sundaribai, N .S . Krishnan, T .A . Mathuram . un ideale eroico e morale. In tale con- Ruritanian swashbuckler at heart, the Prod .: S .S . Vasan per Gemini Studios█ testo è interessante notare il personag- film tells the story of the princes Veera- 35mm . D .: 193’ . Bn . Versione tamil / Tamil gio femminile centrale e il suo ruolo simhan and Sasankan, rivals for the version █ Da: National Archive of India fondamentale nel ristabilire lo status throne and the affections of the beautiful quo. Chandralekha, che prende il suo Chandralekha. Girato originariamente in tamil e suc- titolo dal nome dell’eroina, raffigu- cessivamente in hindi, Chandralekha ra un mondo in cui uomini e donne India’s First Spectacular fu il film indiano più costoso dell’e- collaborano per ristabilire il giusto or- Reading Chandralekha’s success in ret- poca. Diretto dal poliedrico S.S. Va- dine delle cose e in questo rispecchia rospect, one realizes that several factors san, proprietario dei Gemini Studios le convinzioni del regista, che credeva would have contributed to its positive re- di Chennai, il film coniugava felice- fermamente in una nazione autentica- ception. In 1948, the first year of India’s mente spettacolarità hollywoodiana e mente democratica basata sulla parità independence from colonial rule, the tematiche locali. Ancor oggi conside- dei diritti tra uomini e donne. film’s primary conflict – the struggle be- rato uno dei più grandi film indiani, Chandralekha segnò un punto di svolta tween the usurper and the rightful heir Chandralekha esercitò un’influenza per il pubblico tamil, che si stava affran- – would have resonated strongly with the enorme, fissando i criteri produttivi cando dal suo genere preferito, il film Indian audience, leading them to regis- e pubblicitari dei campioni di incassi ‘mitologico’ centrato su leggende e fi- ter all the nuanced allusions and meta- di Bombay. Fantasioso, romantico e gure indiane, e fu importante anche per phors embodied in the film. They would avventuroso, il film narra la storia dei i registi che tentavano di proporre alle have seen the demonized villain as a per- principi Veerasimhan e Sasankan, che platee tematiche d’attualità. I drammi sonification of the cruel colonial power si contendono il trono e l’amore della in costume come Chandralekha, con which had usurped the land, with Veer- bellissima Chandralekha.
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