In the film, once John Connor (Jason Clarke), leader of the human resistance, sends Sgt. Kyle Reese (Jai Courtney) back to 1984 to guard sarah Connor (Emilia Clarke) and safeguard the future, an sudden flip of events creates a broken timeline. Now, Sgt. Reese finds himself in a very new and unknown version of the past, wherever he’s faced with unlikely allies, as well as the Guardian (Arnold Schwarzenegger), dangerous new enemies, and an sudden new mission: To reset the future…
Also starring J.K. Simmons, Dayo Okeniyi, Matthew Smith, Courtney B. Vance and Byung-Hun Lee, Terminator Genisys is directed by Thor: The Dark World‘s Alan Taylor from a screenplay by Laeta Kalogridis and Patrick Lussier. It will hit theaters on July 1, 2015 and is the first in a planned trilogy of films.
The Inner Eye: Satyajit Ray’s portrait of the great artist Benode Behari Mukherjee
Editor’s note: In a prolific career spanning nearly four decades, Satyajit Ray directed 36 films, including feature films, documentaries and shorts. His films have received worldwide critical acclaim and won him several awards, honours and recognition — both in India and elsewhere. In this column starting 25 June 2017, we discuss and dissect the films of Satyajit Ray (whose 96th birth anniversary was this May), in a bid to understand what really makes him one of the greatest filmmakers of the 20th century.
After completing his graduation in Economics from Presidency College in Kolkata, Satyajit Ray went to Shantiniketan in 1940, to study painting at the Visva-Bharati University founded by Rabindranath Tagore. It was at Shantiniketan that Ray met the eminent artist Benode Behari Mukherjee, who was a member of the faculty there. Benode Behari was severely myopic in one eye and blind in the other (he became completely blind a few years later, following an unsuccessful cataract operation), but despite his physical handicap, he was an artist par excellence, who continued to produce one remarkable work of art after another. Ray was deeply impacted and inspired by Benode Behari’s art, and many years later, as a tribute to his teacher, he made a documentary film on the latter’s life and works, aptly titled The Inner Eye.
With a running time of 20 minutes, and starring the artist himself, this documentary opens with Benode Behari Mukherjee planning the design of a five feet high and 60 feet wide wall in a newly developed building in Shantiniketan, with the help of 20 murals, which in turn are in the form of coloured tiles manufactured in the district of Purulia. Only a fraction of the daunting task is an enormous and complex jigsaw puzzle, which the artist, now completely blind in both eyes, is seen descending upon with great zest, groping around to locate the pieces and their outlines, and placing them in their proper positions in the puzzle — not once wincing in despair at the daunting task that lay ahead. In his own baritone voice and impeccable diction, Satyajit Ray goes on to narrate Benode Behari’s family background, and how, at a very early age, he showed great promise in sketching and drawing. At the age of 12, Benode Behari attended Patha Bhavan — the school in Shantiniketan, and at the age of 15, he shifted to Kala Bhavan, as a student of the art wing of Shantiniketan, where he received tutelage under the great artist Nandalal Bose.
Very early on during his learning years, Benode Behari had decided that he had no interest in mythology — which used to be a staple subject of most budding artists of the time. Instead, he turned his attention to his surroundings — drawing the arid and desolate landscapes of the countryside outside the Shantiniketan campus, along with the lives of the Santhals who inhabited them. Ray goes on to explain that although drawing flora was not a problem for Benode Behari, but how, thanks to the artist’s weak eyesight, drawing small animals and birds was possible only when they were not in a state of motion. Through a series of sketches, drawings and paintings of his early student life, we get a glimpse of the remarkable new talent that had just appeared in the horizon of the Indian art scene.
We further learn from the film that upon his return from a rather rewarding trip to Japan, where he learned a lot from the works of such great masters of Oriental art as Tawaraya Sotatsu and Toba Sojo, Benode Behari was assigned to paint a fresco for one of the dormitories of Kala Bhavan. Inspired by an Egyptian fresco he had seen earlier, in which a lovely pond occupied the centre of the artwork, Benode Behari put a pond in the centre of his fresco too, but went on to pack twenty years of his loving and unhurried observations of the countryside, all depicted around that very pond. Needless to say, the resulting work of art was a telling study of the rural way of life in Bengal.
Ray goes on to talk about some of the other works of Benode Behari in the years that followed, including a fresco on the wall of China Bhavan in Shantiniketan, where a more austere composition of life on campus replaces the free-flowing lyricism of the pond fresco. In yet another fresco — which Satyajit Ray goes on to describe as ‘the only example of a truly epic conception in twentieth century Indian art’ — the artist plans, researches and executes an elaborate depiction of the lives of the saints and mystics of medieval India, covering three walls of a large hall. With shades of influences from various disparate art forms from all over the world, and yet all of them coming together as a synthesized, cohesive and organic whole, it is virtually impossible to believe that the entire fresco was painted directly on the walls, without any preliminary tracing whatsoever — a feat that only reveals the remarkable confidence that an artist of Benode Behari’s stature had in his own capabilities. While talking to Ray about the masterpiece, Benode Behari says, in his trademark wit — ‘I’ve taken only those elements which seemed pre-Renaissance to me. And whether it’s Byzantine, or Jain, or Pot, or Paata — a historian may differentiate between these forms, but how does it matter to an artist like you or me, tell me? If you put a folk figure next to a Jain one, whose daddy is going to chide you for that?’
In the years that followed, Benode Behari moved around a bit — first to Nepal, where he was offered the job of curatorship at the National Museum in Kathmandu, then to Rajasthan on a teaching assignment, and finally to Mussoorie, where he started his own school. It was during this final period that Benode Behari Mukherji lost his remaining eyesight forever. However, he continued to paint, draw, sketch, illustrate and create murals for the rest of his life.
Satyajit Ray’s deep reverence for the artist is evident as much from the fact that he set out to make the film with no financial backing whatsoever, as from the tone of his narration. Sparsely does Ray mention Benode Behari’s handicap, choosing to show the richness and uniqueness of his art instead. The underlying tone of the film is not one of pity, not even of sympathy. It is one of deep awe and respect. In changing the mood of the film from heavy to witty, the music from light and peppy during the Kathmandu scenes to the hopeful and optimistic through the recital of Raag Asavari during the film’s final scene, Ray himself paints a beautiful picture of the life of a remarkable man – a devoted artist, a born fighter and, in more ways than one, a great philosopher. All of this is revealed not only through Benode Behari Mukherjee’s art, but also in the final shot of the film, when Ray signs off with a quote from the man himself – ‘Blindness is a new feeling, a new experience, a new state of being’.
Bhaskar Chattopadhyay is an author and translator. His translations include 14: Stories That Inspired Satyajit Ray, and his original works include the mystery novels Patang, Penumbra and Here Falls The Shadow.
Fukrey Returns box-office: Richa Chadha, Ali Fazal starrer crosses Rs 50 cr in its second weekend
The latest milestone of Mrigdeep Singh Lamba’s cult comedy film is the fact that it has crossed the Rs 50 cr mark.
Trade analyst Taran Adarsh recently took to Twitter to share the news that Fukrey Returns has earned Rs 59.01 crores at the Indian box-office in its second weekend. At the end of Sunday, Adarsh expects the film to touch the Rs 65 crore mark, with the absence of any other major film release till the next weekend, which is when Salman Khan-Katrina Kaif starrer Tiger Zinda Hai will hit the theaters.
#FukreyReturns witnesses MASSIVE GROWTH [55.59%] on Sat… Expected to score BIG numbers on Sun… Should touch/cross ₹ 65 cr by Weekend 2… [Week 2] Fri 3.31 cr, Sat 5.15 cr. Total: ₹ 59.01 cr. India biz.
— taran adarsh (@taran_adarsh) December 17, 2017
Produced by Farhan Akhtar and Ritesh Sidhwani’s Excel Entertainment, Fukrey Returns has seen a consistent growth at the box office ever since its release on 8 December.
The film stars Richa Chadha, Pulkit Samrat, Ali Fazal, Varun Sharma and Manjot Singh in leading roles and sees all the cast members reprising their roles in this second installment of the Fukrey Franchise. The film revolves around a gang of troublemakers, mainly two boys — Hunny and Chucha and their amusing encounters.
George Clooney reportedly working on eight-part limited series based on Watergate scandal
Los Angeles: Actors and filmmakers George Clooney and Grant Heslov, along with screenwriter-producer Matt Charman, are said to be working on a limited series that will explore the Watergate scandal that had forced then US President Richard Nixon out of office.
Charman, who co-wrote the screenplay for the Oscar-winning Steven Spielberg film Bridge of Spies, will serve as the writer on the eight-part limited series. It will delve into the stories of certain key figures in the infamous scandal.
Clooney and Heslov will be the executive producers, with sources saying that Clooney may also direct part of the series should Netflix pick it up, reports variety.com.
Sonar Entertainment, which will produce, inked a first look deal with Clooney and Heslov’s Smokehouse Pictures last year.
The Watergate scandal erupted in June 1972 when five men were arrested for breaking into the headquarters of the Democratic National Committee at the Watergate complex in Washington D.C.
The subsequent investigation revealed a cover up initiated by high-ranking White House officials that eventually forced Nixon’s resignation in 1974.
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