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Retrospektive Oktober 1999 Retrospektive Viennale 1999 *•"? >t ■'■ S--Ä •• > g. • • ' Ä'S * •!-V , •: ,'i >. '• ? V >\ "..-f. •• ■ ■' { •' • -?v*|llf •liSlfli'?' • f- pH Ii' CESTERREICHISCHES FILMMUSEUM 1 ■ :)/wn Oktober 1999 i |j* RETROSPEKTIVE Unter dem Ehrenschutz des indischen Botschafters S.E. Yogesh Mohan Diwari und in Anwesenheit von Bijoya Ray und Sandip Ray IN ZUSAMMENARBEIT MIT ADITI NATH SARKAR R.D BANSAL DILIP BASU • <AMAL BASU • KETTY BEUNEL SARBANI BHATTACHARYA • D.B. BISWAS N, CHOÜDOURY KITTY COOPER • CHRISTIAN DIMITRIU SJE. YOGESH MOHAN DIWARI HERVE DUMONT ANDY ENGEL MICHAEL FRIEND - CAT HERINE C.AUTIEF SUBIR GUHA WINFRIED GÜNTHER ■ SURESH JINDAL • ERIC LIKNAITZKY • DAN NISSEN BHARAT RANA SANDIP RAY PARTHA SATPATHY HIMACHAL SOM BERNARD UHLMANN GERARD VAUGEOIS ACADEMY FILM ARCHIVE, BEVERLY HILLS ARTIFICIAL EYE COMPANY. L< )NDON ASSOCIATED ENTERPRISES. CALCUTTA AURORA FILM CORP. PRIVATE LTD., CALCUTTA BALAKA MOVIES, CALC.UTTA • CHITRANJALI PROPRIETORS, CALCUTTA CINEMATHEQUE SUISSE, LAUSANNE CONTEMPORARY FILMS, ijoNDON DANISH FILMINSTITUTE. THE, KOPENHAGEN • DEVKI CHI! RA PRODUCTJONS INDISCHE BOTSCHAFT, WIEN FLAF SEKRETARIAT, BRÜSSEL FILMS DE LA GOUTTE D'OR. PARIS LES FILMS DE L'ATALANTE, PARIS • FREUNDE DER DEU rSCHEN K1NEMAIHEK. BERLIN GOVERNMENT ÖF IND1A. FILM DIVISION GOVERNMENT ÖF WEST BENGAL INDIAN COUNCIL FOR CULTURAL RELATIONS (K'CR), NEW DELHI INDUS FILMS LITTLE CINEMA CALCUTTA PVT LTD.. CALCUTTA NANDAN WEST-BENC.AL FTLM-CENTER. CALCUTTA NATIONAL CENTRE FOR THE PERFORMING ARTS. BOMBAY • NATIONAL FILM DEVELOPMENT CORPORATION LTD.. BOMBAY PIYALI FILMS. CALCUTTA R.D.B. & CO. HUF, CALCUTTA SATYAJIT RAY PRODUCTIONS. CALCUITA SAT.YAJIT RAY SOCIETY, CALCUTTA SHREE 1IANJIT PICTURES PVT. LI D.. CALCUTTA TAURUS FILM GMBH & CO.. MÜNCHEN TSH, PARIS • RAY FASC UNIVERSITY OF CALIFORNIA SANTA CRUZ Wer die Filme von Satyajit I ay nicht kennt, lebt in einer Welt in der es keine Sonne und keinen Mond gibt - Akira Kurosawa ZYKLISCHES PROGRAMM - WAS IST FILM DIE GESCHICHTE DES FILMISCHEN DENKENS IN BEISPIELEN MIT FILMEN VON STAN BRAKHAGE • EMILE COHL • BRUCE CONNER WILLIAM KENNEDY LAUf £ DICKSON ALEKSANDR P. DOVSHENKO MARCEL DUCHAMP • EDISON KINETOGRAPH • VIKING EGGELING • ROBERT J. FLAHERTY • ROBERT FRANK • JORIS IVENS ■ RICHARD LEACOCK ■ FERNAND L6GER CINEMATOGRAPHE LUMlfeRE ■ £TIENNE-JULES MAREY JC IAS MEKAS • GEORGES MfLIES ■ MARIE MENKEN ■ ROBERT NELSON DON A. PENNEBAKER ■ MAN RAY • HAN 5 RICHTER LENI RIEFENSTAHL JACK SMITH • DZIGA VERTOV ME • 30 WOCHEN • JÄHRUCH WIEDERHOLT • JEDEN DIENSTAG ZWEI VORSTELL JNQEN U iiiiil J 1 ? V'1- p ; Freitag. 1. Oktober 1999, IßJQUtu nen zu entfalten weiß und in dem das Umher¬ Sonntag, 3. Oktober 1999, 18.30 Uhr des mit dem erhabener Namen Sturm in sei¬ Lande. Was als ruhiger Strom'begann, wird spaltet KANCHENJUNGA enttpeht Echos tief¬ Rlmen" Eine Selbstcharakteristik des kom- betörend und leicht gemalte Allegorie. Wie dei zeigt, sind die Reflexe, d.as Echo im Reich der huschen der Wasserläufer auf dem Spiegel des nen eigenen lächerlichen und gloriosen Unter¬ zum dunklen Fluß, die leuchtende Ausmalung ster und höchster Frequen.-, Stöhnen und olötteiü Autor-Rogisseufs R^,', der In MAHA sterbende Feudalismus vom (-100 Jahre vor Einzelheit. Die Hungernden. Die Marodieren¬ AGANTUK (1991) Tpichs so gewichtig und dramatisch erscheint : TEEN KANYA (1961) gang, dessen Unausweichbafkeit er mit Lei¬ der Kindheit von, RATHER RANCHALI zur Reise Jubel. Da der Film im ans Jahr 1962 gebunde NAGAR für kfee. Buch, Moak und Rigie zelfch- seinem Tod noch prallen) Kolonialismus aufge¬ den. Den Zusammenbruch alter Ordnungen (THE ST^\NGE«.| ji Ii $ Iii fJj j* £ I wie das Bild einer Mutter mit der gestorbenen (THREE DAUGHTERS) denschaft befördert wie verleugnet hat, em Tor m die Düsternis von AfUR SANSAR. Vom Licht . nen Blick nichts von dem aufweist, was man net und jede Einstellung den Siicher der fressen wird und wie Indien dabei, davor und und Werte, die da? Qorf anfangs zusammen¬ (TRaS FEMMES) ■ , | (LE VISiTEUR) Tochter im Arm. des beschleunigten Suizids und tragischer zur Asche, von der Asche zum Licht. AnvEnde bis dato für das Rückgrat des Kinos gehalten Kamfem hindurch selbst konzipiert hat Der danach apathisch bleibt. All das erzählt Ray in hielten. Das Sichdart?ieten von Elend aber ist Regio, Drehbuch und Musik: Satyajit Ray; (Originalfassung mit englischen Unter- Regie und Musik: Saty^it Ray; Drehbuch: Popanz des Verdrängen3 Lange zuvor im Film des dritten Films der Tritogie eine langsame und story genannt hat (statt dessen, vielfigurig Rlm spielt eine! Konstellation, eine Möglichkeit seinem ersten und einzigen in Urdu (der litera¬ einer der heikelsten, empfindlichsten Punkte Kamera: Barun Raha; Schnitt: Dulal Dutt; titein- ' ; i fTf t111' Satyajit Ray nach drei Novellen von hat Biswambhar Roy von der Teft asse seines Rückkehr. In der äuBeren Welt ein Zurückkom¬ bestückt, eine SHuatidn, sc vage, daß sie zum Zweck der Realitätserhellung in zwei 9tu rischen Version des Hindi) in Lakhnau (der heu¬ des Mediums Film, und Ray fügt diesem Punkt, Darsteller: Mamata Shankar, Ütpal Dutt Rabindranath Tagorp; Kamera: Soumen- Palastes in die Dämmerung gespäht, aus der, men zum Sohn (so alt wie Apu zu Beginn und einem Nebel, gleicht), sehen, je nach Stand¬ fen durch* Erste Stufö: Was geschieht, wenn, tigen Hauptstadt /an Uttar-Predesh) gedreh¬ mit Zoom. Farbe und brüsken Ciose-Ups,.wpi Bne heitere letzte Verbeugung, eine ironische du Roy; Schnitt: Dulal Dutta; Darsteller: von ferne her das tuckernde Geräusch eines ihm gleichend), in der inneren Welt ein Zurück¬ punkt, die einen in ihm den Anti- die anderen um das Gehalt des Gatten auszubessern, eine ten Großfilm mit dem visuellen Raffinement d$r tere Wunder bei. Woran liegen, trotz seiner Anil Chatterji, Chandana Banerji, Soti- Generators wie eine triviale Drohung der neu¬ kommen zu den Dingen des Lebens, erneutes den genuin filmischen Film schlechthin. Einig¬ indische Städterin aus bürgerlichem : Mittel¬ Mogul-Miniaturmaler und der luziden Einfach¬ Mängel und Unebenheiten, die Stärken /on und weise Signatur am Ende des oeuvres: Samstag, 2. Oktober 1999, 18.30 Uhr Satyajit Ray. Herzkrank, den möglichen Tod vor müra Chatterjee en Zeit zu ihm herübergeweht ist. Und die ver¬ Gewahrwetden ihrer Wärme, verjüngtes. Ach¬ keit herrscht darüber, daß er in Indien 'Jtwas stand im Jahr tg62 arbeiten geht? Zweite Stu heit eines Kindes, das die Verschiebung von ASHANI SÄNKET? Nicht in der Ausmalung, Augen, realisiert er 1991 eine Komödie, in der JANA ARANYA (1975) Eir meisterhafter Episodenfilm, von dem die löschenden Keizen des Lusters haben, reflek¬ ten ihrer Wunder. Zuletzt: eine Hinwendung. Neues. Niegesehenes darstellt. Der Hmiataya fe Was geschieht, wenn eine indische verhei¬ Zinnsoldaten - oder Schachfiguren bel¬ vielmehr.ir\der Evokation.; Nicht in der Gegen¬ sich, spielerisch ausgemalt, eine Art von fikti¬ OHE MlDpLEMA^ v i . erste und letzte Episode gezeigt werden kann, tiert und verzerrt im Glas des Weinkelchs. sel: APU, eine Tritogie. Ein 359-Minuten-Fresko in Wolken, die Personen im 1 OQ-rninütJcen Flux ratete Frau zur Alleinerhalterin der Familie auscht wart der Katastrophe, sondern in der Ahnung vem, spöttischem Setostporträt befindet Ein (L'INtERM£DlAlRE) ' nach Novellen von Rabindranath Tagore, nen Zusammenbruch befördert: Er jedbeh hat über Indien, über Bengalen, über das Alte und von Kommen und Gehen. Savardieren und avanciert? Arati (gespielt von der wunderbarer. (Originalfassung mit englischen Unter ihrer Ankunft. Nicht im Unheil, aber in seinem totgeglaubter, irgendwo im Ausland verschol¬ Regie, Drehbuch und Musik: Satyajit Ray: denen Ray seinen Stt und seine eigene Sensi- den Irritationen die Wollust der Musikabende das Neue, das Land und die Stadt, die Familie Schweigen, von Zögern, Irritiertsein, Sich-Ver Madhabi Mukherjee) . ist jung, anmutig titein) Kommenkönnen: in letzten, wunderbaren, lener Onkel taucht nach 35 Jahren bei seiner Kamera Soumentiu Roy; Schnitt: Dula! bijität mitzuteilen weiß. Zweimaj das Bengalen entgegengesetzt, nicht achtend darauf, wie und die Lebensalte!. übe» Veränderung und lieren, Zucückflnden-zu-sich. Was alle bindet großherzig, voll Wärme, innerer Kraft, Würde farbgesättigten; ruhigen Bildemdes Noch-Hei- Nichte in Kalkutta auf. Beengtes Mitteistands- Dutta; Darstaller: Pradip. MuKherjee, der tropischen Dörfer am Beginn des Jahrhun¬ der riesige Spiegel an der Stirnwand des Stagnation, über den AJItag und die Katastrp? ist die Revolte' gegen die oppressive. überle¬ und scheuer Zurückhaltung. Sie trögt den Sari len. Der Dorfbrahmana bei der puja. Die Sanft¬ miheu wieirt MAHANAGAR. Der Gatte mißtraut Satya Bannerji, Oipankar Dey derts, zweimal die Konfrontation mit dem Salons die Vorgänge gespenstisch verdoppelt phen, die diesen, samt dem Gefügten und am bensgroße Vaterfigur. Geschäftsmann mit und den Punkt der verheirateten Frau auf der heit- dep Uchts, Die gleitenden Bewegungen dem Besucher, dar eine Woche Gastfreund - Unter Rays „modernen Filmen" jener, der den Anderen, dem fremden Blick, dem urbanen unc| dunkel entwirküqiht hat Leben Befindlichen zersprengen. Atlerr. voran imperialem Gestus, den er von den Briten Stirn. Ihr Mann, bescheidener Bankbeamter, Freitag. 8. Oktober 1999, 21.00 Uhr der Frauen Das Braun der Arme. Die Körper im schaft erbittet, wähnt in ihm einen Hochstapler Kelch cter Bitterkeit bis zur Neige trinkt. JANA Denker». Das Land: personifiziert in Frauen. Die (Originalfassung mit deutschen Unter¬ jeddeh ein Film über die Liebe zum Laben. Er übernommen hat. Korrupter, törichter Tyrann, flüstert ihr aufmunternd zu, wenn auch
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