Subrata Mitra Movies

The filmmaker visits Sri Chidananda and Sri Krismananda in Rishekesh, India; interviews the Tibetan incarnate lama, Kalu Rinpoche; and takes in the yoga activities at Gyiling in Denmark under the tutelage of Swami Narayananda. The four traditional emphases in classic Indian yoga are discussed at some length: these are Karma, Bhakti, Raja and Jnana Yoga. Roughly speaking, Karma Yoga emphasizes good deeds, Bhakti emphasizes devotion, Raja emphasizes meditation and visualization, and Jnana Yoga emphasizes direct knowledge. The attitudes expressed by the filmmaker and his subjects are very much those of adherents to these activities; viewers who require an "objective" approach may be disappointed. ~ Clarke Fountain, All Movie Guide

Tom Pickle (Michael York) is the British rock star who travels to India to learn the sitar from Ustad Zafar Khan (Uptal Dutt). Much to the dismay of his aggressive agent Chris (Barry Foster), he leaves the money-making music world behind to learn about the exotic Indian instrument. Khan believes Tom lacks focus but has the talent, and a young hippie girl arrives (Rita Tushingham) who has the focus but not the natural talent that Tom possesses. There is a romantic angle between the hippie-girl Jenny and Tom, but it is more implied than demonstrated. Soon the Guru Khan is besieged by women who all try to capture his attention. He becomes frustrated over the lack of spiritual commitment of his students, as the rocker contemplates his return to swinging London town. ~ Dan Pavlides, All Movie Guide

Lizzie (Felicity Kendal) is an actress in a Shakespearean theater troupe that has seen better days. The troupe tours India to dwindling crowds who are less interested in all things British in the wake of Indian independence. When she has an affair with the Indian playboy Sanju (Shashi Kapoor), Lizzie feels the wrath of her disapproving father Tony (Geoffrey Kendal) and her mother Carla (Laura Liddell). Madhur Jaffrey plays the role of the Indian actress Manjula in this romantic drama with musical score from Satyajit Ray. ~ Dan Pavlides, All Movie Guide

Satyajit Ray, India's premiere film director, takes a rare foray into social satire with 1963's The Big City. Anil Chaterjee stars as the typically subjugated wife of an Indian bank official. When the banker loses his job, he orders Anil to find work to make ends meet. The wife subsequently runs the household finances so brilliantly that soon she is in the driver's seat, in direct opposition to long-established Indian matrimonial custom. Seen by some critics as a subtle plea for improving the status of Indian womanhood, The Big City was based on a novel by Narbenda Nath Mitra. ~ Hal Erickson, All Movie Guide

Chhabi Biswas plays a prominent Indian industrialist who takes his family on holiday to Darjeeling. In close contact with one another for the first time in months, the family members vent their various pet peeves. Efforts to solve the family's problems are often stymied by the schism between the younger and older members of the group. In short, filmmaker Satyajit Ray trots out several of his favorite themes, then bundles them together in an entertaining and accessible fashion. In the tradition of Hollywood's The Set-Up and High Noon, the events in Kanchenjungha are played out in "real time," with everything occurring uninterruptedly within the film's 100 minutes. ~ Hal Erickson, All Movie Guide

Originally released in India as Apur Sansar, The World of Apu was the last of Satyajit Ray's "Apu Trilogy." Pather Panchali (1955) covered Apu's early years in his native village, while Aparajito (1956) detailed his school years and the tragedy that temporarily brought him back home. Now Apu (Soumitra Chatterjee), having abandoned college due to lack of money, hopes to find success as a writer. He is sidetracked from this goal when he meets Aparna (Sharmila Tagore), whose impending wedding is canceled when the groom turns out to be mentally unstable. To save Aparna from a custom-dictated life of spinsterhood, Apu marries her himself. When she dies giving birth, the grieving Apu cannot bring himself to meet his son, and in fact deserts the boy for five years before learning how to gracefully accept his lot in life. Like the other entries in the trilogy, The World of Apu was based on Bibhutibhusan Bandopadhaya's semi-autobiographical novel Aparajito. In the manner typical of his earlier works, director Ray adopts a straightforward, realistic approach, avoiding any sort of attention-getting directorial techniques, the better to simply tell his story. ~ Hal Erickson, All Movie Guide

Better known as The Philosopher's Stone, Parash Pathar was Satyajit Ray's immediate follow-up to his celebrated Aparajito. The film bears the heavy (but never oppressive) influence of Ray's idol, French filmmaker Jean Renoir. Tulsi Chakravetry plays Parresh Dutt, an elderly clerk who comes into possession of a stone that can turn the humblest mineral into gold. Attaining vast wealth overnight, Dutt finds that he is still persona non grata in High Society. Taking revenge on his "betters," he uses his wonderful stone to destroy the economy. Realizing the damage that he's done, the clerk sacrifices himself to set things right again. When first shown at the Cannes Film Festival in 1958, Parash Pathar was greeted with amused indifference; critics and viewers alike preferred the profundity of Ray's "Apu" trilogy to this modest little fable. ~ Hal Erickson, All Movie Guide

Pather Panchali (Father Panchali), Indian director Satyajit Ray's first feature film, relates the story of an impoverished Bengalese family. When the father (Karuna Bannerjee) leaves for the city to pursue a writing career, the mother (Karuna Banerji) is left with the responsibility of caring for the rest of the brood. Gradually, the film's true central character emerges: Apu (Subir Banerji), the family's son. Though excruciatingly realistic at times, Pather Panchali takes an occasional timeout to dwell on the purely cinematic. For example, when the mother receives a postcard bearing good news, Ray dissolves to a pond, where a pair of water skates scamper about. The music by Ravi Shankar at first seems to be at odds with the action; soon, however, we come to accept the music as a logical outgrowth of the events at hand. A multiple award winner, Pather Panchali was the first of Ray's celebrated "Apu Trilogy" (the other two entries were 1956's Aparajito and 1959's The World of Apu). The film was also released as The Song of the Road and The Lament of the Path. ~ Hal Erickson, All Movie Guide