Discussing Jana Aranya with Varun Grover | The Middle Man | 100 Years of Satyajit
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- čas přidán 12. 06. 2024
- We continue our analysis of Ray films, in continuation of our celebration of Satyajit Ray Birth Centenary. This time we discuss Jana Aranya (The Middle Man) perhaps the most cynical film of Ray, the 3rd film of his Calcutta Trilogy. Joining us for this discussion we have celebrated poet, writer, stand-up comedian Varun Grover, who considers Jana Aranya to be one of the best films from Ray's canon of work. We discuss multiple themes of the masterpirce which we believe you will enjoy.
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One of my favourite artists. Ami jotota parbo share korbo. Atleast ekta subscriber jodi baarate help korte pari. Tomra khub e underrated. 😭
Thanks brother ❤️
Thanks Filmkopath for this eloquent interview.. fantastic. Keep going!!
Wow Varun Grover! Great guys
Thanks brother
Megh na chaitei jol...excellent!
It is a facilitating experience to listen Varun Grover, thanks for the interviews on Ray. :)
Varun Grover is always fascinating..
It is really great to hear his views on regional cinema.. Jano Aranyo in many ways a rare Ray film that questioned the so called Bengali bhadrolok exsistence and their frailities to cope up in the dog eat dog world of commerce.
Good conversation.
wow interview. thanks to all.
Could you guys just upload this videos as podcast (in Spotify)? Its a request, sometimes it is best to "listen" these interviews.
We didn't think about it yet.We will definitely consider and plan. Thanks for the suggestion
u folks are tryly awesome❤
Thank you so much ❤️
According to me Jana Aranya is neither cynic nor bleak. It is the life and to me it is the best film Satyajit Ray had ever made.
The first time when Somnath was shown he was not shown straight he was shown from a slight angle unperturbed calm among the farce of "gana tokatuki". We in our idealistic best always live in isolation with our idealism. The idealism gets dented remotely when a teacher does not get enough money to get his correct glass immediately.
Jana Aranga catches the changing political scenario when the Naxalite slogan is cut in the wall as Somnath walks back and forth in the same road and also typically brand us in the section on an instance like "Mohun Bagan".
The descent of human idealism is caught very intelligently as Somnath delivers his first deal in taxi and subsequently in rickshaw and when he misses his friend and friend asks "apni koto number kujchen?".
And then the most powerful metaphor of good in father and boudi. Lily Chakroborty is uncelebrated powerful actor to whom Bengali cinema did not do justice.
In actual story Somnath did not see Kana as he brought her to hotel. Sankar wrote a forgettable sequel to Jana Aranya to dilute Jana Aranya. But Satyajit Ray really push the limit here true to life. Somnath had every oppertunity to stop the taxi and go away. He did not do. In his position nobody 2ill do that. I would have done exactly same.
Natabar and Father are same. They just represent the life.
When the WHITNER order is annexed father did not care to ask "Why Somnath had got the order". He just celebrates. No different than Natabor.
But beyond life there is something which we can say our "conscience". That is why the film ends on Boudi with a freeze.
Jana Aranya is a celebration of.life. it is not bleak. It is not cynic. It is an honest representation and best work of Satyajit Ray.
Expect to hear from Lily Chakraborty and Dipankar Dey.
Well, Satyajit himself considered the film to be pretty bleak as mentioned in few of his interviews. However that doesn't mean we need to follow what he felt. Let me tell why I feel the film to be considerably cynical. It's not for the primary characters, it's for that mother who pimps for her daughters in their own house (that she has now renovated as well with that money). It is such a sharp contrast to the mother child connection of Pather Panchali and Aparajito that the man started with. There's so many not so great characters in Ray's canon of work but perhaps none as cynical as this one. If you note carefully you will realize that the mother character here is also not in the same tonality as Satyajit's characters usually are. She is pretty loud and animated which I felt is intentionally placed to express Ray's frustration with the world he was living in at that time.
@@filmkopath The mother character was represented exactly the way it was described in the novel. Even the dialog was almost same and even the gift was also mentioned in the novel. I would not say it was director's interpretation. I personally think Ray wanted to capture the system under which everybody adapts. As far as I remember the dialog was much more graphic in the novel. I want to treat Jana Aranya without comparing with any other work as everything was different. And to me it is closest to life. Somnath had no option other than to be adapted. All of us have no option. I consider myself rebel in my workplace. I know how much isolation it creates. And Somnath cannot be rebel. None of us afford to become rebel in our limited capacity. So to me.tye film is neither bleak nor cynical. 😀
When one says Jana Aranya is the most cynical work of Ray, obviously a comparison comes in. Off course a Lars Von Trier film would be way much more cynical but what we discuss is about Ray's canon of work. I understand the mother character came from the novel but it was Ray's discretion to retain it as it is or change it or mould it in the default tonality of his films....as he changed the ending of the same film. I personally feel these choices are deviations from Ray's other works however respect your understanding as well 🙂
@@filmkopath the paper examining is really the most cynical and bleak moment of the film. In every other step Somnath had a choice and option. And I would have taken the same option honestly whatever is the internal conflict. And I do not want to say this 99% people would be taking that option. I have read the novel at least 10 times and watched the movie at least 15 times at different age. Never ever I thought I would be behaving differently. Also I can swear you I would not have taken the Simmabaddha option ever. So Jana Aranya is life. 🙂
@@filmkopath instead of Von Trier or Heneke I would take example of Dardenne last two films (both are panned by critics) but definitely the endings are close to life though no way satisfying. Life is never satisfying. It is about option and how much somebody bends at a specific time of life . The mother or Aporajita came out when she found Apu is getting degraded and mother here takes a different route (we do not know the back story) but both are life. Do you think when a mother pushes her child to compete unreasonably or boasts her child achievement for her own ego is anything better. The later happens commonly and repeatedly. 😀
Team Filmkopath, this is huge!!
Huge congratulations to the team for organising this conversation with Varun Grover. Really love Varun.
🙂🙂🙂
Ei cinema ti kothay pabo ektu valo quality er sondhan dite paren?
Amrao khuje paini, kintu Jana Aranya bhalo print ache eta jani. Jante parle obossoi janabo
@@filmkopath thank you.. but ki vabe janaben🙃?
Hoe ekhane comment korbo othoba community post. Criterion, Satyajit r sabkota chobi niei kaj korche sunechi. Oder sathe amader kichu bisoe nie alochona hote pare agami dine. Sujog pele ebisoe jante chaibo
@@filmkopath thanks 🙃