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Charulata. La Esposa Solitaria Screenbox CHARULATA. LA ESPOSA SOLITARIA SCREENBOX FICHA NÚM. 2.423 T.O.: CHARULATA NACIONALIDAD: INDIA Estreno Screenbox: 05-05-2.021 DURACIÓN: 117’ Estreno España: AÑO: 1.964 WWW.SCREENBOX.CAT TEL: 630 743 981 PI I MARGALL, 26. LLEIDA FICHA ARTÍSTICA comodidad y la desidia. Amal: Soumitra Chatterjee Charulata: Madhabi Mukherjee FILMOGRAFÍA (seleccionada) Bhupati Dutta: Shailen Mukherjee DEL DIRECTOR: Umapada: Shyamal Ghoshal SATYAJIT RAY (Calcuta, India, Mandakini: Gitali Roy 02-05-1.921 - Calcuta, India, 23- 04-1.992) FICHA TÉCNICA -Agantuk (1.991) Director: Satyajit Ray -El Mundo de Bimala (1.984) Guion: Satyajit Ray -Los Jugadores de Ajedrez (1.977) Productor: R.D. Bansal -Un Trueno Lejano (1.973) Música: Satyajit Ray -Goopy Gyne Bagha Byne (1.969) Fotografía: Subrata Mitra -Nayak (1.966) Montaje: Dulal Dutta -Charulata. La Esposa Solitaria (1.964) SINOPSIS -Apu Sansar (El Mundo de Apu) Basada en un relato de Rabindra- (1.959) nath Tagore ambientado a finales -La Piedra Filosofal (1.958) del siglo XIX, cuando la India era -Aparajito (El Invencible) (1.956) todavía una colonia inglesa. Charu, -Pather Panchali (La Canción del una mujer de la alta sociedad ben- Camino) (1.955) galí que lleva una vida ociosa, está casada con Bhupati. Éste, que ha PREMIOS Y PRESENCIA EN heredado una fortuna, utiliza su FESTIVALES dinero para publicar un periódico -Festival de Berlín: Oso de Plata al político, y se siente orgulloso de Mejor Director (1.965) no haberse dejado arrastrar por la CIEN AÑOS DE SATYAJIT RAY Y LA MUJER ENCERRADA las grandes películas del cine universal. DE “CHARULATA” (publicado por Manuel Hidalgo en elespanol.com) En ésas estaba cuando, trabajando como ilustrador de libros, conoció la novela “Pather Panchali” y se planteó Jean Renoir y John Huston fueron los decisivos que le gustaría ser director de cine para llevar a la pantalla impulsores de la carrera cinematográfica del cineasta un texto así. Y llegó a Calcuta el director francés Jean Satyajit Ray (1921-1992), de quien mañana [02/05/2.021] Renoir, afincado entonces en Estados Unidos, para buscar se conmemora el centenario de su nacimiento en Calcuta localizaciones y preparar el rodaje de su película “El Río” (Bengala, India). (1941), basada en la novela homónima de la británica Rumer Godden. Con tal motivo, tenemos desde ayer la impagable posibilidad de ver en pantalla grande, en versión digital y Ray se presentó por el morro en el hotel de Renoir, que restaurada, una de sus muchas obras maestras, “Charulata. le acogió amistosamente, lo tomó como asistente en los La Mujer Solitaria” (1964), basada en un relato del también trabajos previos al rodaje de su película y, durante un mes, bengalí Rabindranath Tagore (1861-1941), Premio Nobel de le fue transmitiendo sus ideas sobre el cine y lo animó a Literatura en 1913, figura de la máxima influencia en la vida debutar como director. y en la obra de Ray. Ray admiraba ya “La Regla del Juego” (1939) y el realismo En esta feliz oportunidad de acercarnos a la filmografía poético que Renoir había cultivado en su etapa francesa. de un director al que le cuadran sin reserva alguna los Fueron influencias determinantes de la visión humanista calificativos de clásico y magistral, podemos también que luego Ray transmitiría en su filmografía. ver en Filmin las tres películas (“La Canción del Camino”, “El Invencible” y “El Mundo de Apu”) que, agrupadas La otra gran influencia sobre Ray fue el Neorrealismo y conocidas bajo el nombre de 'Trilogía de Apu', Italiano. Ray tuvo que viajar a Londres en 1950 enviado deslumbraron y dieron a conocer en Occidente, entre 1955 por su agencia publicitaria y allí, durante meses, tuvo la y 1959, a Satyajit Ray. ocasión de empaparse del cine neorrealista de Roberto Rossellini y Vittorio de Sica. “Ladrón de Bicicletas” (1948), El impulso de Jean Renoir del segundo, le dio la clave para dar el paso hacia el cine Ray nació en el seno de una acomodada e ilustrada familia y debutar con su soñada adaptación de “Pather Panchali” de escritores, editores y poetas y recibió una educación (1955), también conocida en España como “La Canción esmerada, atenta tanto a la conservación y a la renovación del Camino”. de la cultura bengalí como al conocimiento de la cultura occidental. La ayuda de John Huston Sin productor, sin abandonar por si las moscas su Estudió Economía en la universidad de Calcuta, pero su empleo, filmando en 16 mm durante los fines de semana interés por el arte le llevó a trabajar en la publicidad y y las vacaciones en escenarios naturales, financiándose como dibujante. Interesado en el cine, primero, como mediante la hipoteca y venta de sus propiedades y con simple buen aficionado, fundó en 1948 la Calcuta Film actores no profesionales, Satyajit Ray se lanzó a rodar Society, un cine-club que le permitió conocer y estudiar “Pather Panchali”. Hasta que se le acabó el dinero. Y ahora entra en escena John Huston, que estaba en India historias de aventuras, detectives o, incluso, ciencia-ficción intentando, por primera vez, poner en pie -¡con Humphrey al tipo de cine de género y de intención más comercial que Bogart!- lo que muchos años después fue “El Hombre que Ray cultivó en el último tramo de su carrera. Pudo Reinar” (1975). Ray localizó a Huston y le mostró un montaje provisional del material que llevaba filmado. Huston Ese giro, que admitió varias excepciones, sucedió años se entusiasmó e intercedió para que la película integrara una después de “Charulata”, su película preferida. En 1964, Ray muestra de arte indio que iba a celebrarse en el Museo de seguía -y siguió- centrado en la adaptación de grandes Arte Moderno de Nueva York. Entonces, el gobierno bengalí obras literarias, en la contemplación minuciosa de la familia espabiló y financió la terminación del rodaje. -ancianos, niños y mujeres, sobre todo- y de las muy diferentes clases sociales, en la tensión entre la tradición y Bazin, anonadado -como habrá adivinado el lector-, el progreso. consiguió que la película fuera seleccionada para el Festival de Cannes. ¡Booommm! No ganó la Palma de Oro -aunque La influencia de Rabindranath Tagore fue premiada-, pero la crítica mundial cayó de rodillas. Su Durante los títulos de crédito, el plano fijo de una mano continuación, “El Invencible” (1956) -casi más conocida por femenina que borda un pañuelo sobre un bastidor -pañuelo su título original, “Aparajito”-, ganó, ahora sí, el León de Oro que luego tendrá relevancia dramática- señala sin lugar a de Venecia. dudas la condición de una mujer sometida al ámbito de lo doméstico. La 'Trilogía de Apu' En 1992, después de veintiocho películas de ficción, cinco Enclavada a finales del siglo XIX, cuando el llamado documentales y tres cortos, Satyajit Ray recibió un Oscar Renacimiento Bengalí estaba suponiendo cambios culturales por toda su trayectoria. Tres décadas antes, una encuesta de y una mirada hacia la sociedad occidental, “Charulata” es la la revista británica Sight and Sound situó “Pather Panchali” historia de la accidentada evolución de una joven burguesa como una de las diez mejores películas de la historia del y solitaria, confinada en la jaula de oro de su casa. cine. Su marido, editor de un periódico progresista, la ama, pero La “Trilogía de Apu” -disponible en Filmin, recuerden- se basa no es consciente de que la tiene abandonada y limitada. Un en las novelas del escritor bengalí -¡allá voy!- Bibhutibhusan acontecimiento doloroso le abrirá los ojos, al tiempo que Bandyopadhyay, comenzadas a publicar a finales de los Charulata, gracias a su despertar y a su talento para escribir, años 20. iniciará un camino hacia una independencia que puede ser o no compatible con su matrimonio. En un extraordinario blanco y negro y con una bellísima -aunque también dramática- visión del paisaje, las tres Satyajit Ray se educó también en Santiniketan, en una escuela películas van contando, entre el campo y la ciudad, la vida de dedicada al arte y al pensamiento -luego, universidad- Apu desde su nacimiento hasta que, en su primera madurez fundada por Rabindranath Tagore, amigo de su familia. y ya viudo, asume las obligaciones de su paternidad. El poeta, narrador, ensayista y pensador Rabindranath En un itinerario repleto de cambios, muertes, inclemencias Tagore, que tanto interés produjo en Juan Ramón Jiménez y graves dificultades económicas, la trilogía narra la vida de y Zenobia Camprubí -lo tradujeron al español- y que tanto Apu y de toda su familia, en un contexto de contrastes entre fue leído en nuestro país -¿se le sigue leyendo?- hace unas el mundo rural y el urbano, entre el peso de la tradición y el décadas, fue adaptado en tres ocasiones más por Satyajit paso a la modernidad, entre las imposiciones de la cultura Ray: “La Diosa” (1960), “Tres Muchachas” (1961) y “El Mundo del pasado y los requisitos del progreso económico. de Bimala” (1984). Es la historia, en definitiva, de cómo, entre alegrías, pérdidas De espléndida fotografía -Ray admiró, trató y escribió sobre y desventuras, se llega a ser persona y a ocupar con dignidad Cartier-Bresson-, pictoricista y musical, “Charulata” tiene un lugar en el tiempo y en el mundo que te ha tocado vivir. toques de Antón Chéjov en su prospectiva minuciosa y sencilla de un mundo intimista y ecos de Henrik Ibsen en su La “Trilogía de Apu” tiene una singularidad que ha de análisis de la deriva de una mujer recluida en su propia casa interesarnos. La banda sonora de las tres películas fue de muñecas. compuesta e interpretada por el músico indio Ravi Shankar, maestro del sitar mundialmente conocido años después Tras el plano inicial del bordado, ya la primera secuencia por su asociación creativa con Georges Harrison y por sus concentra la situación de la protagonista y adelanta el intervenciones y grabaciones en los conciertos de Monterrey, goce estético que nos espera.
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