Trovão Distante

My favourite thing of this movie of was beautiful Bobita. Soumitra Chatterjee, who appeared in half of Ray's films, did awesome job here. If I am not wrong, this is the first proper colour film made by Ray. The topic here is a little bit sensitive, so fanatics might be angry if I share my honest opinion. Even though this has a unique narrative than others, and it carries the most universal themes of all his movies, I always thought the subject was kind of opportunistic. This decision of mine might be influenced by the best of Mrinal Sen, 'Akaler Sandhane', which itself is based on making a "famine film". Actually, just hit my mind, these two movies can be watched back to back for a reason.

The subject matter of this small masterpiece is the famine which killed millions of people in Bengal during the war years after 1942 when Japan controlled Burma and a source of rice for India was then cut off. The "distant thunder" is the sound of an alien war, seemingly irrelevant, which nevertheless spreads its havoc. The central character is a Brahmin priest-teacher-doctor (Soumitra Chatterji) who with his wife (Babita)is forced to choose between survival for themselves or compassion for others less well-off than they are when confronted by scarcity, hoarding, and profiteering. Out of this background of horror and deprivation, the gifted director of the APU TRILOGY has fashioned a compassionate and understated picture leading inexorably to a haunting concluding image which must surely etch itself permanently into the memories and consciences of every viewer. This is a truly magnificent film.

The chemistry between Chatterjee and Babita is amazing in this classic study of the conflicts between religion, station, and the inner workings of human souls. Ray's best-known masterpiece improves with repeated viewings. Every time, I watch it, I pick up new nuances, particular on Babita's performance. The thin lines between devout and callous, love and loathing, & heroism and insanity have never been examined more in-depth or with greater insights. On one level, great art, on another flawlessly technical, but overwhelmingly emotionally draining in the best possible way.

Ashani Sanket / Distant Blunder (1973) : Brief Review -

A Stunning Cult Classic on heart-wrenching topic of Bengal Famine. One of Satyajit Ray's best work ever and you know what that means. When i say, it is one of the best work of Satyajit Ray ever then you must realise the high standard I'm taking about. I don't even need to explain anything after that one statement and if you are well known about Satyjit Ray's work then i don't think you can resist yourself from watching this Cult film ASAP. Ashani Sanket is based on true events and believe me those events are horrendous. As food shortages reach catastrophic proportions, Gangacharan attempts to preserve his privileged situation, while his generous wife, Ananga, conversely tries to help and support the community. Alongside, the film also focuses of castism as the protagonist realises that a natural disaster like Hunger don't see Caste before hitting you. All humans are equal, we have to stay equal to live equal and suffer equally. Some scenes in the film are truly mind-shattering and abominable. You have to have strong heart and emotions to see it and understand the actual pain behind and then i guess you'll never ever forget this film in your Life. Bangladeshi Actress Bobita looks drop-dead gorgeous as bengali housewife. She looks so good that i would have had crush on her if i were a teenager in 70s. Performance wise too she looks great whereas in her husband's role Legend Soumitra Chatterjee shows his upper class yet again. Director Satyajit Ray bring cent-percent conviction in his storytelling with utterly realistic presentation and does not compromise with the hard-hitting content. In a nutshell, Ashani Sanket is a Cult Classic moviemaking on tragic tale from the Indian History which is atrocious and ferocious but needs to seen.

RATING - 8.5/10*

By - #samthebestest.

This film takes as its subject the Bengal famine of 1943 when, due to the negligence and indifference of the authorities, some 5 million lives were lost. The subject is certainly harrowing, but one does not come to a film like this for light entertainment.

Ray focuses on a remote village, where the war is little understood, and is merely "distant thunder". The warplanes flying overhead are regarded uncomprehendingly, but with wonder. Soon, shortages of food start making themselves felt; the price of food rises above what may be afforded, and there is starvation.

At the centre of this is a young Brahmin couple, who make use of their caste to earn a living. The horrific turn of events bring home to them the concept of social responsibility. When an untouchable girl dies at their door, they break the greatest caste taboo of all by deciding to dispose of the corpse themselves. In the context, this action is heroic; but this is heroism on the brink of extinction. The final unforgettable shot, where the sheer scale of the holocaust is brought home to us, sends a shiver down the spine even on repeated viewings.

In dealing with this very difficult subject, Ray displays his usual all-embracing humanism, and a level of artisty that appears well beyond that of ordinary directors. This is not an easy film to watch, but is required viewing for anyone who values cinematic artistry, and by those who believe that horrors such as those depicted here should not be forgotten.