{"id":3492,"date":"2021-09-15T10:00:59","date_gmt":"2021-09-15T04:30:59","guid":{"rendered":"https:\/\/filmcriticscircle.com\/journal\/?page_id=3492"},"modified":"2022-02-02T04:37:13","modified_gmt":"2022-02-01T23:07:13","slug":"vol-1-iss-17","status":"publish","type":"page","link":"https:\/\/filmcriticscircle.com\/journal\/vol-1-iss-17\/","title":{"rendered":"Journal of Indian Cinema \u2014 Vol. 1. Iss. 17."},"content":{"rendered":"[vc_row][vc_column]
\r\n\t\t

Journal of Indian Cinema<\/h2>\r\n\t\t

Vol. 1. Iss. 17 | September \u2013 October 2021<\/p>\r\n\t\tFilm Critics Circle of India<\/a>\r\n\t<\/div>\r\n\t[vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css_animation=”bounceIn”][spacer size=”45″]\n

Sarat Chandra Chattopadhyay \u2014 vagabond messiah<\/a><\/h2>\n

Amborish Roychoudhury<\/a> | Sep 15<\/p>\n

\"\"\u00a0Sarat Chandra Chattopadhyay was discovered in the guise of a sanyasi, standing in the Muzaffarpur office of a popular magazine those days, called Bharatvarsha. <\/em>In flawless Hindi, he requested to be furnished with writing materials. He was out of pen and paper.\u00a0<\/span>He was carrying a notebook, and the pages of that notebook were filled with countless stories. He was shipped back to his hometown…<\/p>\n

\u2026\u00a0Sarat Chandra stands tall in the Indian literary pantheon. He wrote only in Bengali, but\u00a0his translated works are so native to North India that many of his works are considered a part of Hindi literature.<\/span><\/p>\n

read HOMAGE<\/a><\/p>\n[divider size=”1″][\/vc_column_text][vc_column_text css_animation=”bounceIn”]\n

\n[spacer size=”20″]\n

Dogged intensity \u2014 the biopics of Richard Attenborough<\/a><\/h2>\n

Amborish Roychoudhury<\/a> | Oct 02<\/p>\n

Nehru, who Attenborough was counting on to help with the film on Gandhi, passed away in 1964. Within a span of just 6 years, Motilal Kothari also breathed his last. Under the circumstances, it might have been prudent to give up on the biopic altogether. But Richard Attenborough kept at it, and was more determined than ever to realise his dream project\u2026 Warner Brothers and MGM Studios had agreed to back the project, but eventually backed out. The newly-formed National Film Development Corporation (NFDC) stepped up… By the time Attenborough was ready to roll cameras, it was November 1980\u2026 Attenborough\u2019s doggedness which kept him attached to the project regardless of the setbacks, also reflected in his storytelling and approach to directing.<\/p>\n

read HOMAGE<\/a><\/p>\n<\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css_animation=”bounceInLeft”][spacer size=”45″]\n

Relook at Satyajit Ray’s Ghare Baire<\/a><\/h2>\n

Babu Subramanian<\/a> | Sep 4<\/p>\n

\"\"Ray displayed his mastery of filmmaking right from his early films reaching a highpoint in \u2018Charulata\u2019.\u00a0 In \u2018Ghare Baire\u2019 he goes even beyond that peak.<\/p>\n

read FILM ANALYSIS<\/a><\/p>\n[\/vc_column_text][vc_column_text css_animation=”bounceInLeft”][spacer size=”45″]\n

The Mahatma abhorred cinema, but films celebrated Gandhi<\/a><\/h2>\n

S Viswanath<\/a> | Oct 02<\/p>\n

\"\"While film makers may per se not have ingrained Gandhian thoughts or philosophies themselves, the Mahatma\u2019s influence on cinema has been pervasive.<\/p>\n

read HOMAGE<\/a><\/p>\n[divider size=”1″][\/vc_column_text][vc_column_text css_animation=”bounceInLeft”][spacer size=”20″]\n

Shabana Azmi<\/a><\/h2>\n

Darshana Goswami<\/a> | Sep 18<\/p>\n

\"\"Shabana Azmi belongs to the clan of those handful of artists whose performance, even within the limited space allotted to an actor (for it is commonly believed that cinema is the director\u2019s space), asserts the unlimited possibilities that cinema can explore\u2014cinema as art, as philosophy, as an intellectual movement or a weapon for social change, as entertainment, or cinema as life is\u2014unchanging and unchangeable.<\/p>\n

read FEATURE<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css_animation=”bounceIn”][spacer size=”45″] Sarat Chandra Chattopadhyay \u2014 vagabond messiah Amborish Roychoudhury | Sep 15 \u00a0Sarat Chandra Chattopadhyay was discovered in the guise of a sanyasi, standing in the Muzaffarpur office of a popular magazine those days, called Bharatvarsha. In flawless Hindi, he requested to be furnished with writing materials. He was out of pen […]<\/p>\n","protected":false},"author":48,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-3492","page","type-page","status-publish","hentry"],"yoast_head":"\nJournal of Indian Cinema \u2014 Vol. 1. 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