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Home , Abhijan, Aranyer Din Ratri, Ganashatru, Goopy Gyne Bagha Byne, Jalsaghar, Jana Aranya

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Index

Note: Pages in bold italics denote illustrations.

Abhijan (The Expedition), 250 abhinaya, 42, 45, 47, 48–9, flashback, 160 Abhinavagupta, 3, 15, 16, 17, 50 forest/tribal tradition, 157–9 18, 19, 20, 24 camera: framing, 41, 44, 47; humbling of male, 129–30 Abhinavabharati, 17, 24 movement, 42, 44, 47, 48, laughter, 161–2 abhinaya, 26, 206 59 mise-en-scène, 129 , 42, 45, 47, 48–9, editing, 41, 43, 46 memory game, 128–31 50 mise-en-scène, 42 women’s hedonism, 127–8, Apur Sansar, 50, 53–4, 56, rasa in: camatkaras, 40–4 130–1 59–60, 62 (Benares), 46–7 (Calcutta); Aristotle , 66, 68–9 constancy of gesture, 48– Nicomachean Ethics, 23 , 26, 27, 30, 50; the look, 40–4, 48; por- Poetics, 16; action, 21; 33, 35–6, 37–8, 40, 47 trayal of death, 42–4, 47–8 catharsis, 23, 24; character, acchina, 24, 25 sound track, 43, 44 21; hamartia, 167; mime- acedia, 134–5, 136–7 Apur Sansar(The World of sis, 21, 22; plot, 21 adbhuta, 24, 27, 42, 45 Apu), 2, 4, 7, 8, 16, 25, 49, Aryan, 148, 178–9 adharma, 190 53, 63, 106, 250 Ashani Sanket (Distant Thun- adharsana, 29 abhinaya, 50, 53–4, 56, 59– der), 97, 121, 122, 252 adhiksipa, 29 60, 62 Brahmin, 121, 147–52 Adventures of Goopy and camera: framing, 52, 55, 58, camera, 121, 149 Bagha, The, see Goopy 59, 60, 62; movement, 52, editing, 151 Gyne Bagha Byne 58, 59, 62 mise-en-scène, 147–8 Adversary, The, see child, presence of, 60–1 sound track, 151 (The Stranger), 5, 14, editing, 52, 53, 54, 58, 59, Ashcroft, Bill (coeditor), The 214, 233, 243n6, 254 60, 62 Empire Writes Back, 184, bhadralok: “center,” 214–15, mise-en-scène, 50, 51, 56, 215, 219–20, 222, 223 219, 222–3, 224, 232; 58, 60 Atharveda, 31 family, 217–19, 230 rasa in: camatkaras, 50–2 (lit- Attenborough, Richard, 209 Calcutta, 214, 219, 223, 233 erary), 53–5 (connubial); aucitya, 26 ending, 232–3 constancy of gesture, 53–5, Aurobindo, 79 names, meanings, 218 56–8, 61–4; opposition of autsukya, 64 tribal culture vs. technology, character, 55–6; portrayal avatar, 113 224–5 of death, 59–1 avesa, 24, 25 uncle’s language, 222–5 sound track, 54, 60 awards, 4, 235n13 aharya, 26 voice-over, 60 alambanavibhava, 64, 66 Apu Trilogy, The, 2, 3, 4, 7, Babita, 122 Allen, Woody, 9 21, 24, 73, 211; see also Bach, Johann Sebastian, 227, almiarah, 227 Aparajito; Apur Sansar; 229 Altman, Robert, 9 Pather Panchali Bahadur, Jaya Wadiyar, An As- Anandvardhana, 3, 15, 17, 18, Aquinas, Thomas, epiphany pect of Indian Aesthetics, 19, 20 theory, 28–9 20 Dhvanyaloka, 19 (Days and Bakhtin, Mikhail, 158–60, angika, 26, 37, 38, 48, 56, 57, Nights in the Forest), 11, 161–2 59, 60, 66 12, 13, 97, 107, 162, 251–2 Bala (documentary), 252 aniyata, 20 Calcutta, 127, 130, 157–8, Bandopadhyaya, Satya, 175 Antonioni, Michelangelo, 9 159, 160, 161–2, 176 Banerjee, Bibhuti Bhusan, 6, 73 anubhava, 29, 64 camera, 131 Pather Panchali (novel), 32 Aparajito (The Unvanquished), carnivalesque in, 158, 159 Banerjee, Bikram, 233 2, 4, 16, 25, 32, 41, 249 drunkenness, 160–1 Banerjee, Haradhan, 125

255

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256 Index

Banerjee, Karuna, 34 Agantuk, 214, 219, 223, 233 Chaudhuri, Nirad C., The Con- Banerjee, Victor, 91 Aparijito, 4, 45–7, 48, 50 tinent of Circe, 134–5, 136, Barnouw, Erik (coauthor), Aranyer Din Ratri, 127, 130, 137, 144, 152, 171, 175 Indian Film, 7, 11, 12 157–8, 159, 160, 161–2, Chess Players, The, see Basu, Gangapada, 71 176 Shatranj-ke-Khilari Baumer, Rachel (coeditor), San- Devi, 110, 112, 164, 165 children’s films, by Ray, 7, 13 skrit Drama in Perfor- , 143, 144 Chiriakhana (The Zoo) mance, 21, 26, 73 “The Postmaster,” 80, 81, 82, (completed by Ray), 251 begum, 131, 186, 187, 188, 83 close-up, 105, 121, 194, 226 204, 205 Pratidwandi, 6, 137, 139, , 27, 28, 30, Benares, 4, 32, 40–3, 44, 47, 140, 142, 143 37, 39, 40, 44, 55, 58, 62 48, 49 , 6, 107, 153, , 85, 88, 103 Bengal, 90 154 Jalsaghar, 65, 67 Bergman, Ingmar, The Silence, 9 Shakha Proshaka, 216, 217, Shatranj-ke-Khilari, 200, 201 Beveridge, Henry, 199 220, 223 Company Limited, see Seema- bhadralok “center,” 5, 213, camatkara, 18–19, 22 baddha 220, 234 as principle of rasa, 24–5 Cook, Pam, 101, 239n23 Agantuk, 214–15, 219, 222– see also specific Apu Trilogy Conrad, Joseph 3, 224, 232 film Heart of Darkness, 202 , 213, 214 camera movements, see specific Lord Jim, 140 Shakha Proshaka, 214, 216, film or kind of shot Cormack, Margaret, The 217 carnivalesque, 158, 159 Hindu Woman, 108 bhadralok culture/sensibility, 13 Cassavetes, John, 9 Coward and the Holy Man, Agantuk, 214–15, 218–19, Castelvetro, Ludovico, 23 The, see -o- 222–4, 225, 227, 230–1, caste system, 178–80 232–3 centrism, 213–14, 224 Crawford, Joan, 97–8 Ganashatru, 213, 226 “otherness” as response to, Curtiz, Michael, Mildred “The Postmaster,” 80–3 214–15, 217–18, 232–3 Pierce, 97–8, 99–100 Shakha Proshaka, 214, 217, see also bhadralok, “center” Curzon, George Nathaniel, 220, 221, 222, 226 Certeau, Michel de, 153 Lord, 90 Bhagavad-Gita, 133, 193 Chakravarty, Aloke, 63 bhajan, 93 Chanda, Barun, 155 Dalhousie, Lord, 198, 200 bhakti, 191 Chandipur, 164, 165, 213, 215, The Letters of Lord Dalhou- Bhanja, Samit, 162 226 sie, 199, 201 Bharata, 16, 17, 18, 23 character, 21 Dandin, 3, 15, 17, 18, 19 Natyasastra, 16, 24 constancy of, as rasa, 24–5; Kavyadarshana, 17 bhaya(naka), 17, 22, 70, 71–2 see also specific Apu Trilogy dasa, 179 Big City, The, see film; Jalsaghar Dasarupaka, 24 Bihar, 139, 143, 153, 157 contrasted, Apur Sansar, 55–6 Das Gupta, Chidananda Biswas, Chhabi, 11, 71 names, see name of character Cinema of Satyajit Ray, The, Blue Book on Oude, 199 flat vs. round, Shatranj-ke- 6, 12–13 Blumberg, Rhoda Lois (co- Khilari , 205–6 Film –Satyajit Ray, 140, author), India’s Educated Chari, V. K., Sanskrit Criticism, 141, 146–7, 156, 177, 211 Women, 78 16, 18, 20, 21, 24 Das Gupta, Uma, 35 Bombay, 106, 107 Charulata (The Lonely Wife), Dawson, John, The Classical Bose, Professor, 1 11, 12, 13, 73, 79, 85, 102, Dictionary of Hinduism, boxwallah, 126 103, 251 192 Brahmadatta, 196 camera: framing, 85, 88, 89, Days and Nights in the Forest, brahman, 190 103; movement, 84, 89 see Aranyer Din Ratri Brahmin, 16, 179, 195 entrapment in Hindu “doll’s Deleuze, Gilles Ashani Sanket, 121, 147–52 house,” 83–6 Cinema One: Movement- Devi, 110, 111, 112 final reconciliation, 89 Image, 86 Jana Aranya, 144, 146 freeze frame, 89 Cinema II: The Time Image, (and story), 2–3, 178, garden sequence, 86–8 119, 120, 143 180–4, 190, 191, 196, 197 mise-en-scène, 12, 85, 86 principle of indiscernability, Branches of the Tree, see names, meanings, 83 120–1, 122 Shakha Proshaka sound track, 84, 85 Deliverance, see Sadgati Brandon, James R. (coeditor), Chatman, Seymour, Story and desa, 191, 192 Sanskrit Drama in Perfor- Discourse, 205 De Sica, Vittorio, 73 mance, 21, 26, 73 Chatterjee, Anil, 99 Devi (The Goddess), 96, 106, Bresson, Robert, Journal d’un Chatterjee, Bankim Chandra, 111, 163, 250 curé de campagne, 104 79 Brahmin father, 110, 111, Brian, Alan, 146–7 Chatterjee, Dhritiman, 141, 221 112; “dream” of, 108, Byron, George Gordon, Lord, Chatterjee, Sarat Chandra, 79 109, 165 88 Chatterjee, Shubhendu, 162 Calcutta, 110, 112, 164, 165 Chatterjee, Soumitra, 53, 63, camera: framing, 109, 113, Calcutta, 4, 6, 87, 99, 171, 85, 125, 162, 221 114; movement, 113 173, 199, 231 Chatterjee, Swatilekha, 91 father–son conflict, 164–6

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Index 257

Freudian conflict, 108–10 camera, 220, 226 harsha, 64 goat sacrifice, 110–12 ending, 226, 231 Harvey, Sylvia, 97–8 goddess incarnation as trap, “home,” 227 Hasa, 17 112–14 language in, 219–20 hasya, 33 mise-en-scène, 109, 165 mise-en-scène, 221, 225–6 haveli, 186, 187 superstition indicted, 108–9 problematic characters, Hero, The, see Nayak Devi, Chunibala, 34, 35 215–16 Hinduism Dey, Dipankar, 229, 233 Gandhi, Indira, 6 bureaucratic centrism and, dharma, 78, 189–90, 191, 197, Gandhi, Mohandas, 79, 217 213 224 Ganesha, 39 caste system, 178–80; see Dhruva, 54 Ganges River, 40, 43, 45, 48, also Brahmin dhvani, 17, 18, 19, 20, 31, 37, 184 contamination, 183–4 43, 48, 50, 57, 62, 65 Genji, Lady, 91 father–son bond, 162–3 Dimock, Edward C., Jr., The Gerow, Edwin, 15, 25, 26, 69, life and death in, 43 Literatures of India, 3, 15, 73 patriarchy, 108, 114–15 25, 69 gesture, constancy of, as rasa, restrictiveness, 131, 158, 159 dissolve, see editing, dissolve 25–6; see also specific Apu ritualization, 181–2, 184 Distant Thunder, see Ashani Trilogy film; Jalsaghar suffering, three kinds, 134–5 Sanket Ghare-Baire (Home and the superstition, 108, 109 Diwali, 42, 43, 49 World), 7, 9, 79, 91, 102, wedding “knot,” 52 Dravidian, 148, 150 215, 253 and women, see women, dream sequence, 13, 138–9, Camelot subtext, 91–2 Hinduism and 167 camera: framing, 94–5, 120; Hirok Rajar Deshe (The King- Duras, Marguerite, 123 movement, 94–5 dom of Diamonds), 7, 13, durbar, 201 cigarette brand, 95 253 Durga, 40, 108, 109, 110, 111, editing, 93, 96 Hitchcock, Alfred, 73 112, 113, 114, 184 gender role reversal, 95–6 North by Northwest, 105, Dutt, Utpal, 233 Hinduism, effect on woman, 125–6 Dwarki, Leela (coauthor), In- 96 Vertigo, 84 dia’s Educated Women, 78 Krishna–Draupadi allusions, Home and the World, see 94 Ghare-Baire editing, 12; see also specific film mirroring, 92–6, 120–1 Homer, The Iliad, 22 Elephant God, The, see Joi mise-en-scène, 94 Hooghly River, 47 Baba Felunath Mother Goddess–Queen Bee, House, Humphrey, Aristotle’s Eliot, T. S., 20, 87, 232 91, 94 Poetics, 23 Emerson, Carlyl, 159 tea sequence, 94–5 humbling, of male, 118, 129– Enemy of the People, An, see two worlds, seduction by, 30, 151 Ganashatru 90–2 Hussain, Fakhir, Lucknow (co- English, 49, 50, 55 ghat, 41, 42, 43, 48 author), 199 Expedition, The, see Gita, see Bhagavad-Gita hyperbolization, 9, 10, 11, 12 Glengarry Glen Ross (Foley), fakir, 185 144 Ibsen, Henrik, An Enemy of Fanon, Frantz, The Wretched Gnoli, Raniero, The Aesthetic the People, 219 of the Earth, 183, 184, 193 Appearance According to Indian Nationalist Movement, Fiske, John, Reading the Pop- Abhinavagupta, 17, 18, 19, 210 ular, 153 24–5 Indra, 38, 114 Flaherty, Robert, Nanook of Goddess, The, see Devi Inner Eye, The (documentary), the North, 225 Golden Fortress, The, see 252 flashback, 13, 66, 67, 123, 160, 169 Goldschmid, Frederic John, Jacobus, Lee A., The World of flash-forward, 13 199 Ideas, 148 flute, 54, 56, 57, 58, 59 goopiyaa, 200 jagir, 132, 186 Foley, James, Glengarry Glen (The jagirdar, 198 Ross, 144 Adventures of Goopy and jalsa, 66, 67, 68, 69, 206 Ford, John, 73 Bagha), 7, 13, 251 jalsaghar, 66, 67, 69 Forster, E. M., 9, 205 , 210 Jalsaghar (The Music Room), A Passage to India, 206 gori palton, 203, 210 2, 4, 10, 11, 16, 21, 24, freeze frame, 89, 142 Griffiths, Gareth (coeditor), The 71, 249 Freud, Sigmund, 108, 167, 225 Empire Writes Back, 184, abhinaya, 66, 68–9 Frye, Northrop, The Anatomy 215, 219–20, 222, 223 camera, 70; framing, 65, 67; of Criticism, 139, 140, 146, Guha, Ranajit (coeditor), Select- movement, 65, 68 147, 150, 166, 167 ed Subaltern Studies, 198 feudal order, moribund, 68–2 guna, 134, 191, 193, 195 flashback, 66, 67 Ganashatru (An Enemy of the Gupta, A. R., Women in Hindu iconic use of animals, 71–2 People), 5, 14, 213, 214, Society, 75, 76, 77 mise-en-scène, 10, 66, 68 221, 254 names, meanings, 71 bhadralok: “center,” 213, Harcourt, E. S. (coauthor), patronage of classical music/ 214; culture, 213, 226 Lucknow, 199 dance, 68–9

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258 Index

rasa in: bhayanaka/fear, 70–2; kathak (dance), 206 Masson, J. Moussaieff (co- constancy of gesture, 66–9; kathak (storyteller), 41, 48 author), Sanskrit Love dominant emotion, 69; ka- Kaukabh, Professor, 199 Poetry, 19 runa (sorrow), 64–6, 69–70 Khan, Amjad, 209 Mazoras, Marta, 9 two presented, 70–1 Khulna, 51 medium shot, see midshot Jana Aranya (The Middleman), Kingdom of Diamonds,The, Merwin, W. S. (coauthor), San- 6, 153, 175, 252 see Hirok Rajar Deshe skrit Love Poetry, 19 Brahmin, 144, 146 klaivya, 137 Micciollo, Henri, Satyajit Ray, 7 Calcutta, 143, 144 Krishna, Lord, 7–8, 56, 57, 58, middle class, Bengali, see camera, 175 59, 94, 199, 200, 206, 218, bhadralok “home” as dark, 144–5, 146, 222 Middleman, The, see Jana 174–5 Krishnaswamy, S. (coauthor), Aranya mise-en-scène, 145 Indian Film, 7, 11, 12 midshot, 95, 109 pharmakos, 146–7 krodha, 17, 29 The Apu Trilogy, 30, 33, 38, renunciation vs. worldliness, Ksemendra, 19 47, 52, 59 163–4, 174–5 Kshatriya, 179, 195, 208 Charulata, 85, 89 whore in, 145, 146, 147 Kumar, Uttam, 169 Mildred Pierce (Curtiz), 97–8, jati, 179 Kundu, Gautam, 6, 12 99–100 Johnson, Claire, 173–4, 241n52 kupa-munduk, 222 Mill, James, 199 Joi Baba Felunath (The Ele- Kurosawa, Akira, 1, 10–11 Miller, Arthur, Death of a Sales- phant God), 13, 253 man, 174 Journal d’un curé de campagne ladki, 194 Milne, Tom, 140–1 (Bresson), 104 Lago, Mary, 83, 87 Mira Bai, 94 Joyce, James, Portrait of the lakdi, 194 mise-en-scène, 80, 94, 123–4, Artist as a Young Man, Langer, Susanne, 16, 18, 20 129, 138, 145, 147–8, 192, 28–9 Lannoy, Richard, The Speaking 204 jugupsa, 17 Tree, 157, 158, 214 The Apu Trilogy, 29–30, on family, 108, 116, 162–3 36–7, 42, 50, 51, 56, 58, Kael, Pauline, State of the Art, 9 on Hinduism, 179, 195, 60 Kakar, Sudhir 218 Charulata, 12, 85, 86 The Inner World, 57;on Leach, Edmund, Lévi-Strauss, Devi, 109, 165 family, 27, 31, 32, 75, 88, 230 Ganashatru, 221, 225–6 163; on Hinduism, 189–90, Lonely Wife, The, see Charulata Jalsaghar, 10, 66, 68 191, 193, 194–5; on wom- long shot, 113, 173 Mahanagar, 106, 119 en, 75, 88 The Apu Trilogy, 27, 41, 59, Nayak, 167, 168 Intimate Relations, 76, 87, 60 Mohurrum, 201, 206 118 Lucknow, 185, 187, 188, 198, moksha, 190, 191, 193, 194–5 kala, 191, 192 199, 202 Morson, Gary Saul, 159 Kalidasa, Sakuntala, 22, 64, Mozart, Wolfgang Amadeus, 9, 65, 69 Machiavelli, Niccolò, The 73 Kanchanjungha, 97, 108, 250 Prince, 148 Mukherjee, Binod Behari, 252 camera, 116, 173 Machu Picchu, 222 Mukherjee, Madhabi, 85, 99, patriarchy, 114–15, 116–18, Mahabharata, 76 106, 125 164 Mahanagar (The Big City), 99, Mukherjee, Pradip, 175 sound track, 117 250–1 Mukherjee, Sailen, 85 women: intergenerational camera, 97 munshi, 202–3 bonding, 117–18; strategic comparison with Mildred Music Room, The, see Jalsaghar silence, 115, 116 Pierce, 97–8, 99–100 Kaplan, E. Ann lipstick, as cultural threat, 98, namaste, 105 Psychoanalysis and Cinema, 103 name of character, meaning, 135 mirror, moments of intensity 40, 71, 83, 123, 180–1, Women and Film, 117, 123, before, 119 218 125 mise-en-scène, 106, 119 Nandy, Ashis, 208 Women in Noir, 97–8 women: actual vs. virtual At the Edge of Psychology, Kapur, Geeta, 3, 4–5, 109, 112, images, 119–21; bonding, 78, 79 165 118–20; patterns of mas- The Intimate Enemy, 181, Kapurush-o-Mahapurush (The querade, 106; secondary 182 Coward and the Holy status at home, 97–8 The Savage Freud, 214 Man), 12, 97, 125, 251 manasadhyavasaya, 25 Nanook of the North (Flaher- flashback, 123 Manu, 75 ty), 225 mise-en-scène, 123–4 “margin,” 213 Narain, Govind, Munshi Prem- names, meanings, 123 self defined at, 217–18 chard, 180 silence, women’s, politics of, tribal cultures defined from, nature, 51, 52 122–3, 124, 125–7 224–5 natya, 16 karma yoga, 191 Marx, Karl, 167, 225 nawab, 131, 132, 185, 186, karuna, 17, 30, 38, 40, 45, 48, Masson, J. L. (coauthor), Aes- 187, 188, 201, 202, 203, 60, 64, 70, 72 thetic Rapture, Vol. I: Text, 210 Jalsaghar, 64–6, 69–70 20, 64 Naxalite Movement, 6, 211

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Index 259

Nayak (The Hero), 97, 169, Patwardhan, M. V. (coauthor), rasa, 15–18 251 Aesthetic Rapture, Vol. I: and aesthetic delight, 20 camera, 105 Text, 20, 64 defined, 3 dream sequence, 167 pharmakos, 146–7, 160 emotional states, 17 eyeglasses in, 103–4 Pbilosopher’s Stone, The, see principles, 24–6 “father”–son conflicts, 166– Parash Pather see also specific rasa or Apu 70 (Pikoo’s Day), 13, 253 Trilogy film; Jalsaghar flashback, 169 Poetics (Aristotle), terminology, Rashomon (Kurosawa), 1 mise-en-scène, 167, 168 see Aristotle, Poetics Ravana, 76, 192, 193, 196 responses to stardom, 171–3 “Postmaster, The,” 79 Ray, Satyajit sound track, 167 bhadralok patriarchy indicted, “Guest, The,” 243n6 train travel, class of, 104–5 80–3 Our Films, Their Films, 1–5, negative image, Pratidwandi, camera, 81 11, 15, 141, 177, 198, 199, 13, 135, 138, 140 mise-en-scène, 80 219, 227 Nehru, Jawaharlal, 217 prathibha, 18, 19, 27, 50 Renoir, Jean, 9, 73 Niyata, 20 Pratidwandi (The Adversary; Rhode, Eric, 7 North by Northwest (Hitch- Siddhartha and the City), 6, Robinson, Andrew cock), 105, 125–6 13, 97, 98, 141, 153, 252 The Chess Players and Other Nyce, Ben, Satyajit Ray, 7, 8 bird and its song, 140–3 Screenplays, 199 brother–sister relations, Satyajit Ray, 7, 10–11 objective correlative, 87, 112 100–1 Roy, Rammohan, 79 “other(ness),” 184, 214, 218 camera, 135; movement, 136, Russell, Howard, The Indian as response to bhadralok 137, 138 Mutiny Diary, 199 “center,” 214–15, 217–18, “city” vs. “home,” 136, 137, 232–3 138, 139, 142 Sadgati (Deliverance), 2, 5, 7, Oudh, 184, 185, 198, 199, 200, dance sequence, 101, 142 177, 197, 253 201, 202, 203, 208, 210 dream sequence, 138–9 Brahmin: conduct: 191; flashback, -forward, 13 adharma, 190; avidya, 195; Padma River, 65, 70 freeze frame, 142 narcissism of, 191–2 pan shot, 116, 131, 138, 192, inner space of the imaginary, camera, 192, 194 226 137–9 editing, 193–4 The Apu Trilogy, 27, 28, 29, interview sequences, 135–7, mise-en-scène, 192 39, 42, 44, 47, 52 141 names, meanings, 180–1 Jalsaghar, 65, 68 mise-en-scène, 138 purification rite, 196–7 paralysis of will, 135, 137 negative image, 13, 135, 138, sound track, 192, 197 Parash Pather (The Pbiloso- 140 Untouchables, 178, 193–4, pher’s Stone), 249 nurse-whore in, 136, 136, 195–6, 197 Pather Panchali (Song of the 139, 140 saksatkara, 25 Little Road), 2, 3, 4, 9, 10, sound track, 136, 141–2 sama, 17, 61 11, 12, 34, 35, 41, 44, 46, “thrashing the boss” samkalpa, 25 49, 50, 249 sequence, 100, 139–40 samprahara, 29 abhinaya, 26, 27, 30, 33, 35– vacillation of protagonist, sancaribhava, see vyabhichari- 6, 37–8, 40, 47 139–40, 211 bhava camera: framing, 27, 28, 30, , Munshi santa, 61 32, 33, 37, 38, 39, 40; “Sadgati,” 180–4, 191, 198, Santiniketan, 1, 15 movement, 27, 28, 29, 37, 202 sari, 95, 96, 113, 124, 127 39, 40 “Shatranj-ke-Khilari,” 185–9 sattva, 195 editing, 27, 28, 30, 33, 39, 40 prempatra, 60 sa¯tvika, 26, 39, 40, 58 mise-en-scène, 29–30, 36–7 prostitution Satyavan, 77 names, meanings, 40 Jana Aranya, 145, 146, 147 Savitri, 76, 77 rasa in, 15–16; camatkaras, Pratidwandi, 136, 136, 139, scapegoat, see pharmakos 25, 26–7 (jatra), 27–9 140 Scott-James, R. A., The Making (train), 31, 34, 47, 51; con- puja, 43, 109, 181, 192 of Literature, 21–2 stancy of character, 25, 26, punkhah, 160 Seemabaddha (Company Limit- 29–5; constancy of gesture, purdah, 186 ed), 6, 12, 107, 147, 155, 26, 33, 35–40; the look, Puri, Om, 197 252 37–8; portrayal of death, purush, 134, 143, 152 corporate world, 153–5 33–5, 38–40, 42 display of Westernization, sound track, 27–8, 36, 43 (docu- 152–3 pathetic fallacy, 43 mentary), 250 split-screen, in credits, 153 Patil, Smita, 197 Radha, 59 strike, perspectives on, 154–7 pativrata, 76, 77 Raghavan, V., 26 Sen, Jayanti, 219, 227 Patna, 107, 153–4, 155, 156 Rajadhyaksha, Ashis, 2, 6, 7 Sen Gupta, Pinaki, 41 patriarchy, Hindu, 108, 114–15 rajas, 195 Seton, Marie, Portrait of a bhadralok, “The Postmaster,” rakshasa, 196 Director, 7, 9–10 80–3 Rama, 43, 76 Shah, Wajid Ali Kanchanjungha, 114–15, Ramanujan, A. K., 3, 69 Mahal Khana Shahi, 199 116–18, 164 Ramayana, 20, 43, 76, 192 Rajas, 199, 200

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260 Index

Shakespeare, William, 128, sringara, 17, 32, 52, 54 vacika, 26 225 sthayibhava, 64 The Apu Trilogy, 36, 37, 38, Shakha Proshaka (Branches of Stranger, The, see Agantuk 40, 45, 46, 56, 58, 60;in a Tree), 5, 213, 214, 229, sudarshana chakra, 54 English, 48–9, 50 254 Sudra, 179, 195 Jalsaghar, 66, 68 ending, 231–2 Sukumar Ray (documentary), Vaisya, 179, 195 family in, 216–17 253 Valmiki, 20 “home,” signifiers of, 227–9 svardharma, 193 Varda, Agnès, 9 money in, 220, 222, 228 Swadeshi Movement, 90, 91, varna, 179 wise fool, didacticism of, 95, 215 Vasudevan, Ravi, 164 220–2 Vertigo (Hitchcock), 84 shakta, 91, 193, 196 vibhava, 64, 66 Tagore, Rabindranath, 1, 7, 12, shakti, 40, 91, 191, 193, 195, videshi, 90 15, 250 196 Vidyasaghar, Ishwar Chandra, Basundhara (The Universe; Shankar, Mamata, 229, 233 79 poem), 51 Shankar, Ravi, 73–4 Vishnu, Lord, 54 “Darkness Is Gathering over Sharar, Abdul Halim, Guzesta Vishwanath temple, 43 the Forest” (song), 174 Lucknow, 199 vismaya, 17 Ghare-Baire (The Home and Shatranj-ke-Khilari (The Chess Viswanathan, Asoke S., 213 the World; novel), 79, 92 Players), 25, 7, 97, 177, Vivekananda, 79 Nashtanir (The Broken Nest; 184, 209, 253 voice-over, 60 novel), 79 abhinaya in, 206 Pratidwandi, 139, 141–2 Nirrudesh Jatra (Destination animated sequence, 201–2 Shatranj-ke-Khilari, 200, Unknown; poem), 52 British deconstruction of 201, 202 “Postmaster, The” (short King Wajid, 207–9 Vrindavan, 57 story), 79, 81–2 camera, 204; framing, 200, vyabhicharibhava, 29, 30, 39, Tagore, Sharmila, 53, 106–8, 201 61, 64, 67 111, 112, 155, 169 colonialism/elitism, Ray’s tamas, 134, 195 view of, 198 women tasha, 201 cuckolding sequence, 131–2 bonding, 117–22 (Three Daughters), editing, 210 films centered on, 5, 13, 78 79, 250 ending, 210 and gaze: as object, 98, 100, Tennyson, Alfred, Lord failed seduction, 131–2, 101; as possessors, 102–5 Idylls of the King, 91–2 204–5 hedonism, 127–32 Ulysses, 47 flat vs. round characters, Hinduism and: actual vs. Thomas, Rosie, 16 205–6 virtual images, 119–21; Thomsen, Christian Brand, 141, mise-en-scène, 204 effects of, 83–6, 96, 114, 156 prologue, 199–2 117–18; roles, determina- Three Daughters, see Teen sound track, 204 tion by, 75–8, 108 Kanya sources, 198–9 in masquerade, 106–8 Tiffin, Helen (coeditor), The Shiva, 59 politics of silence, 122–3, Empire Writes Back, 184, Siddhartha and the City, see 124, 125–7 215, 219–20, 222, 223 Pratidwandi in Tagore film triad, 79–96 tracking shot, 81, 84, 94–5, Sikkim (documentary), 252 wonder, see camatkara 113, 136, 175, 204 Silence, The (Bergman), 9 Wood, Robin, The Apu Trilogy The Apu Trilogy, 37, 40, 48, Silverman, Kaja, 135 (book), 2, 7, 8–9, 73 58, 59, 62 Siraj-ud-Daula, 201 Wordsworth, William, 9 Trotter, Lionel James, 199 Sita, 76, 77 World of Apu, The, see Apur trpti, 24, 25, 27 sloka, 149, 165 Sansar Two (short), 251 soka, 64 Sonar Kella (The Golden For- Yama, 77 tress), 13, 252 uddipanavibhava, 39, 64, 65 yatra, 77 Song of the Little Road, see Uma, 76 Pather Panchali Umrao Jan Ada (A Courtesan zamindar sound track, 117, 151, 167, of Pleasure), 199 Devi, 108, 109, 111 204 Untouchable, 3, 152, 179 Ghare-Baire, 90, 92, 93, 96 The Apu Trilogy, 27–8, 36, “Sadgati” (Premchand), 180, Jalsaghar, 4, 11, 65–72, 211 43, 44, 54, 60 181, 182, 183, 184 Zanussi, Krzysztof, 9 Charulata, 84, 85 Sadgati (Ray), 178, 190, 191, zenana, 90, 131 Pratidwandi, 136, 141–2 193–4, 195–6, 197 Zoo, The, see Chiriakhana Sadgati, 192, 197 Unvanquished, The, see Apara- zoom shot, 109, 135, 149 “spirituality,” 7, 8 jito The Apu Trilogy, 32, 44, 47, split-screen, Seemabaddha, upghata, 29 60 153 ustaad, 70 Charulata, 85–6, 89 srama, 191, 192 utsaha, 17, 67 Ghare-Baire, 94–5, 120

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