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Jalsaghar Un Film Di Satyajit Ray

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Jalsaghar Un Film Di Satyajit Ray I FUORICAMPO OVVERO GLI IMMORTALI IRREPERIBILI Rassegna Audio-Video 2010 Défilé di Autunno 5 Sabato 23 ottobre 2010, ore 17 Palazzo Cini a San Vio Jalsaghar Un film di Satyajit Ray 1958 94’ Con Chhabbi Biswas, Ganda Pada Basu, Kali Sarkar, Tulsi Lahari. Sceneggiatura di Satyajit Ray Fotografia di Subatra Mitra Scenografie di Bamsi Chandragupta Musiche di Ustad Vilayat Khan, Asis Kumar, Robin Majumder, Dakhin Mohan Takhu Bengala, anni Venti: dopo essere andato in rovina per sprechi commessi in nome del piacere della musica e l’orgoglio di dare raffinati concerti, l’improvvisa morte del figlio e della moglie fanno cadere l’eroe Biswambhar Roy nella più cupa delle depressioni da solitudine: solo la voglia pazza di dare una lezione a un ricco ma volgare vicino di casa e palazzo lo costringerà ad aprire nuovamente la sala di musica per dare un ultimo, straordinario concerto illustrato dalla grande ballerina Krishna Bai. In Jalsaghar, il regista Satyajit Ray esamina lo storico conflitto tra la nobiltà terriera e la nuova classe borghese, tra quelli che vivono nel profondo passato e quelli che vanno incontro ad un futuro di nuova dominazione di classe. Utilizzando lo stesso meticoloso, non forzato stile impiegato nella sua celebrata Trilogia di Apu, Ray esplora come la necessità e il bisogno di un sopravvissuto storico-sociale (un gran signore decaduto) di continuare a possedere uno stile di vita sontuoso porti inesorabilmente alla sua completa rovina il forsennato eroe di una sfida perduta.Si tratta di una suggestiva lunga istantanea della cultura indiana degli anni '30, nonché di un racconto accurato dei pericoli che provengono dall'eccesso dell’autostima e della volontà di potenza lussuosa. Ray ha girato Jalsaghar tra il secondo (Aparajito) e il terzo (Apur Sansar) capitolo della Trilogia di Apu. Dopo due film (Pather Panchali, Aparajito) che narrano in una prospettiva intima le vicende di una famiglia povera, Ray si sposta all'altro capo dello spettro sociale, ai grandi signori che vivono nei mitici splendori dei palazzi, che comandano legioni di servi, e che danno feste sontuose e interminabili. La tragedia, ovviamente, non fa differenze di classi, e le perdite hanno ugual peso sia per Apu che per il protagonista di Jalsaghar, Huzar Biswambhar Roy (Chhabi Biswas). Le loro reazioni alle tragiche circostanze sono prevedibilmente differenti: Apu continua a lottare; Huzar si arrende. Nella Trilogia di Apu, Ray ci porta nel mondo del protagonista, incoraggiandoci a simpatizzare con Apu attraverso i suoi trionfi e le sue tragedie. In Jalsaghar, l'approccio dell'autore è differente. Distacca il pubblico dai personaggi, permettendoci di osservare la cultura e gli eventi da una prospettiva distaccata. Come risultato, mentre questo film difetta della sublime bellezza e della forza della semplicità che ritroviamo nelle pellicole dedicate ad Apu, non perde però nulla del suo fascino di evoluzione intellettuale. Ciò non significa che Jalsaghar non produca impatti lunghi ed emotivi, ma l'intento è differente. Tuttavia lo spettatore non condivide la disperazione di Huzar, ha pietà di lui, imputa al protagonista di essere egli stesso la causa della sua rovina. Analizzato insieme alla Trilogia di Apu, Jalsaghar stimola studi affascinanti di similitudini e contrasti, e ci aiuta a vedere un altro livello della maestria cinematografica di Ray. Va da sè che la interminabile forse monotona partitura musicale indiana del film è il punto di forza di una esperienza estetica inimitabile, remota, toccantissima, metafisicamente funerea. Tracce musicali 01. Générique-Raga du Matin 02. Shahnai Puis "Flash-Back" [Cérémonie du Cordon de Khoka] 03. Dans le Salon de Musique et Annonce de la Fête 04. Cérémonie Religieuse et Fête 05. Première Jalsa/La Chanteuse: Akhtari Bai 06. Inquiétude de Mahamaya et Rêve de Biswambhar Leçon de Chant de Khoka 07. Départ de Khoka et de Mahamaya 08. Nuit" Joueur de Surbahar et Groupe Électrogène + Feu d'Artifice Chez Nahim Ganguli 09. Annonce Fête de Mendiants et Arrivée de la Tourmente 10. Deuxième Jalsa [Sur Fond de Tourmente] Avec le chanteur Salamat Ali Khan: chant Khyal. La mort de Khoka 11. Après le Déluge - Désolation 12. Retour au Présent: Tufan, le Cheval de Khoka 13. Invitation de Ganguli Avec Fanfare 14. Réouverture de Salon de Musique de Biswambhar les Préparatifs de la Fête 15. L'Ultime Jalsa Avec le Chanteur [la Danseuse Kathak: Roshan Kumari. Nahim humilié 16. Montée de la Folie de Biswambhar et Mort de Ce Dernier .
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