Jalsaghar(The Music Room),made in 1958 is a masterpiece of World Cinema. It is must-see for all Ray fans in particualar and all the classic cinelovers in general.
The film is about a zamindar(landowning nobleman),played brilliantly by the great Chobi Biswas,whose tremendous passsion for staging very lavish musical arrangements ushers in his decadence.
The movie shows in flashback his best days with a happy family and most dignified presence in the sumptuous music and dance arrangements.
On the course of time,the nobleman loses money;his wife and son die in a shipwreck.
In a last and vein effort to bring back those yesterdays of glory and now-lost dignity the nobleman invests with all the money he had to stage another jalsa( musical arrangement ).
And this arrangement turned out to be his last.
The movie has got many memorable scenes notably one in the "jalsaghar" where he makes his presence felt by saying that he is the one who deserves (he being the host and organizer)to be the first giver of the token-money(as remuneration) to the artist ;and yet another one was when he gets the news of his kins' death and takes in hands restlessly his son's deadbody.
Who can forget the last scene where he becomes restless and takes out his aging stallion out of the stable and rides on it until he falls down.The scene aptly concludes the downfall of the zamindar .
Not many people know that Ray found the location of the this zamindar's palace in an awkward place in Nimtita in Bengal-Bangladesh border.
The palace in which the film was shot was actually that of the Chowdhurys and coincidentally enough the writer of "Jalsaghar",Tarashankar Banerjee, had one music loving Upendra Narayan Chowdhury (of this Chowdhury family of Nimtita) in his mind which served as the model of the Zamindaar of his story.
This is the film which can be seen time and again without getting tired.This is real genuine masterpiece.
Although I have not viewed the DVD yet, I will update as to any special features, but I am sharing you my review from VHS.
If you have not been introduced to the cinematic world of Satyajit Ray, this 1958 may not be your best film to start out. Instead, try his last movie 1991, Agantuk, (The Stranger) or begin with the world classic mid 50's Apu Trilogy. The Music Room features lengthy Indian music and singing that may be difficult to endure, but it is essential to listen, because it is the essence of the film, the love of music.
Jalsaghar (The Music Room) takes place in the 30's in a huge deteriorating palace as the soil slowly erodes too. The theme is a contrast between decadence and wealth. All he has now is two loyal servants, a few gold coins, a horse, and an elephant. As the movie opens, we are in the present time, when Biswambhar Roy, a feudal landlord is depressed, he has lost his wife and son and his love for the grand music room, where he entertained traditional concerts, drinking, and dancing.
Biswambhar Roy is annoyed by the lights going off from his neighbor's new generator. The neighbor is wealthy and he is modernizing, while Roy is not. Soon, we are taken into flashback where evidence shows he was already beginning to lose wealth, but he said he would spend his last on his love of music.
His wife and son have gone to visit family, and in preparation of another concert in the music room, upon return, he learns they are dead from a whirlpool accident. Now begins the death of the cherished music room.
Satyajit Ray is one of the world's greatest directors, he writes, produces, and directs. He is also a short story writer, and was a graphic artist. He is multi-talented and uses motifs, symbolism, themes, imagery, wide landscape shots. The mirrors, chandeliers, lights, and candles represent wealth and life. You will see an enormous views, especially one that depicts the size of the decaying palace. See how Ray sets the mood and slowly pans the dying, cold, deteriorating music room that was once had musical life. Ray's films offer great insight into human relationships, cultural life, hardships and triumph.
If you have seen Ray's films, you may be aware of the unique faces of his characters. He has said, he chooses people with interesting faces, and it is true with one of his bearded singers. He also doesn't focus on heavy dialogue as he once said that peak moments of a film should be wordless.
Enjoy this wonderful classic and don't see it while sleepy!! Satyajit Ray's movies are exceptional! As another great director, Kurosawa, said, " Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon."
--Rizzo
Buy The Music Room (The Criterion Collection) (1958) Now
Poetic, visually mesmerizing and I would expect nothing less from one of the greatest auteurs of all time.
Satyajit Ray. The Indian Bengali filmmaker was known for his non-traditional Indian films. Having directed 37 films in his lifetime, many which won multiple awards internationally and his contribution to cinema has earned him an Academy Honorary Award in 1991, his films are beloved by many and many have hoped to see his films receive the Blu-ray treatment in the U.S.
And who best than the Criterion Collection who will be releasing Ray's fourth feature film titled "Jalsaghar" (The Music Room) on Blu-ray and DVD.
"The Music room" is a film adaptation of Tarashankar Banerjee's short story but instead of creating an exact adaptation, Satyajit Ray would give his own spin to the film, making several changes but also creating a non-traditional film that would have music like most Indian films, but rather the music being an intermission, the music would be integrated as part of the original screenplay and featuring popular Indian music talent of the time: Begum Akhtar, Roshan Kumari, Ustad Waheed Khan and Bismillah Khan.
VIDEO:
"The Music Room" is presented in 1080p High Definition black and white. For a film that could have been lost (the original negative was destroyed in a fire) forever, fortunately, through the collaboration of various companies, "The Music Room" was among Satyajit Ray's films that were restored and given an HD transfer on Blu-ray courtesy of the Criterion Collection.
There is no better surviving element of the negative than what we see with this film on Blu-ray and I have to say that the film looks great on Blu-ray. With Satyajit Ray's films, there is a focus on aesthetics, the environment around them. And its no surprise as Ray was a big fan of filmmaker Jean Renoir and Vittorio De Sica's work. His attention to detail for his film definitely lends to a more artistic and visually pleasing look as there is a style to his film that one can truly appreciate. Frm the efficacy of Ray capturing the details of webs on a chandelier, a bug on a painting, to see his estate change through time and more. Possibly one of my favorite shot in this film was how we see a bit of the old, with the elephant grazing in the back, which is then disturbed by Ganguly's motor car that throws dirt all around. A visual of traditional India and modern India at the time.
The contrast was also well-done and while, I'm not going to say that the "The Music Room" is absolutely pristine, I will say that for a film that is over 50-years-old and the challenges it has faced in order to be restored, I have no doubt in my mind that the Criterion Collection Blu-ray release is the best version...the definitive version of "The Music Room" thus far! Blacks are nice and deep, really good contrast for the white and grays.
Because a lot of Ray's films were shot on triacetate, the film was in danger of deteriorating in warm temperatures. After Satyajit Ray received his Academy Honorary Award in 1992, the Academy was dismayed that there were few prints and masters of Ray's films in the US and many were now incomplete or in bad condition. So, the Academy decided to create a catalog of the surviving elements of Ray's films in the US and to assess what was in good condition or what films would be lost.
The Academy found that the majority of Ray's films were in jeopardy and so, together with the Satyajit Ray Society, the National Archive of India and the Satyajit Ray Film and Study Center at the University of California, Santa Cruz, the collaboration would ensure that every element that existed in the world could be accessed to make the best restoration possible. "The Music room" was one of the very first films preserved by the project.
According to the Criterion Collection, the laboratory in London suffered a fire and several of Ray's elements and the original camera negative of "The Music Room" were destroyed. But a second generation fine-grain master positive taken from the original camera negative existed in India. The film would eventually receive restoration and was supervised by Academy director Michael Friend and completed in 1995.
The Criterion Collection used a new high-definition digital transfer which was created on a Spirit 4K Datacine from an original 35mm fine-grain master positive. Thousands of instances of dirt, debris, scratches, splices, warps, jitter and flicker were manually removed using MTI's DRS system and Pixel Farm's PFClean ssytem while Digital Vision's system was used for small dirt, grain, noise, reduction and scratches.
AUDIO & SUBTITLES:
As for the audio, the audio is presented in Bengali and in monaural. The audio dialogue is clear as is the classical music of the film.
According to the Criterion Collection, "The Music Room" was remastered at 24-bit from the original 35 mm soundtrack print. Clicks, thumps, hiss and hum were manually removed using Pro Tools HD. Crackle was attenuated using AudioCube's integrated workstation.
SPECIAL FEATURES:
"The Music Room The Criterion Collection #573' on Blu-ray comes with the following special features:
For the Love of Music (17:36) Satyajit Ray biographer Andrew Robinson talks about Ray's love for music and Satyajit Ray's idea and working on the film adaptation of "The Music Room" and the differences between Ray's version from the book.
Mira Nair (15:44) Filmmaker Mira Nair talks about Satyajit Ray's work, "The Music Room" and what she enjoyed about the film.
French Roundtable (10:36) An excerpt from a 1981 French roundtable discussion with Ray, film critic Michel Ciment, and director Claude Sautet
Satyajit Ray (2:11:05) A feature documentary from 1984 by Shyam Benegal that chronicles Ray's career through interviews with the filmmaker, family photographs, and extensive clips from his films
EXTRAS:
"The Music Room The Criterion Collection #573' comes with a 38-page booklet which includes the following essays "Distant Music" by Philip Kemp, "Winding Route to a Music Room" by Satyajit Ray, "On the Music of the Music Room: An Interview with Satyajit Ray by Andrew Robinson and information on the Satyajit Ray Preservation Project and restoration of "The Music Room".
JUDGMENT CALL:
Satyajit Ray may be known for the "Apu Trilogy", "The Chess Players", "The Visitor" to name a few but similar to many auteurs, to study and watch a filmmaker's oeuvre, you notice a change in style overtime.
With Ray, what was intriguing about this filmmaker is his goal to outdo himself from the previous films, to not have his films fit in a traditional sense of filmmaking but with hopes that his countrymen would enjoy the film, as well as people abroad. But for Ray, films that he expected to do well in his country would be popular internationally, while films he thought would do well internationally would be popular more in his country.
Suffice to say, his films often achieved the opposite of what he was expecting but nevertheless, nearly two decades after his passing, many are discovering Satyajit Ray's films and many are hoping companies would bring them to the US.
The Criterion Collection has stepped in by releasing "The Music Room" on Blu-ray and DVD but to also show tribute to the filmmaker with the inclusion of the 1984 feature documentary "Satyajit Ray" which focuses on the filmmaker's career.
"The Music Room" to me, if I had to describe the film, it was more poetic in the sense that elements of what was shot, had meaning. Satyajit Ray has talked about how Jean Renoir influenced him and Renoir was important to the precursor of Nouvelle Vague but his efficacy in using the elements in a room or outdoors to enhance the visual structure of the film. There is meaning behind the environment of "The Music Room" as it shows us the past and present of a zamnidar who has had a strong sense of pride but also a man who is incapable of leaving that pride, despite losing nearly everything in his life.
I have heard that "The Music Room" is different from the original short story that the film was adapted from but Satyajit Ray was able to accomplish a lot with this loose adaptation. For one, utilizing the character and showing us how he reacts to loss, sadness and rivalry. But also, possibly an audacious move on the filmmaker's part to include classical Indian music but incorporate it as part of the storyline.
In India, the film did well for seven weeks but because it was non-traditional and much different than what Indians were used to in cinema, "The Music Room" was no popular in Ray's country but found a big following internationally. Needless to say, the film was ahead of its time.
And as the storyline captures your attention as you see the character of Biswambhlar Roy get lost in his own pride, we see how music plays an important part in the film. Classical Indian music playing while we watch the characters are they react to the performances. And the performance is actually breathtaking, especially the final dance as we see the woman dancing and seeing how the men react to the dancing, it was a wonderful scene. But as mentioned, it was the scenes that featured traditional India and modern India that I found quite interesting.
In one shot, we see Roy's wife and son riding by horse and a carriage held by servants, in a later shot, we see Roy's elephant grazing but then seeing that natural setting disrupted by Ganguli's car as it drives through the pathway kicking up dirt all around.
But then there are shots where we know that darker things will be coming. From the dead insect swirling in Roy's drink, to the black spider crawling around his own painting. Once again, beautiful shots and a film that is well-composed, brilliantly acted by Chhabi Biswas.
As for this Criterion Collection Blu-ray release, it's a fantastic release. It's one thing to get the film, but to get the 1984 feature documentary plus other special features included, it's really enough for me to say that this is one of my favorite Criterion Collection releases on Blu-ray. An outstanding tribute to one of the finest filmmakers in the world!
I may seem biased as an ardent fan of Satyajit Ray's films but "The Music Room" is a wonderful, early Satyajit Ray film and as I'm confident we will be seeing Ray's masterpiece, the Apu Trilogy, sooner than later (knock on wood) and more Satyajit Ray films on Blu-ray, this is an excellent release to learn about Ray's work.
The 1984 feature documentary by Shyam Benegal is a wonderful tribute to the filmmaker and at over 2 hours, it's an excellent special feature to accompany this release. In the past, I would have bought this documentary alone just to learn more about Ray and his passion for cinema but also to see him work behind-the-scenes. But the fact that it's included with "The Music Room", for me, that is wonderful!
It's important to remind everyone when watching "The Music Room" is that Satyajit Ray didn't have a lot of money to make this film. But he made the film with what he had. Some may have comparisons to King Lear but while the film is indeed a study of pride and carried to the most extreme, the film is extraordinary.
And already, I know I have overused the word "wonderful" to describe "The Music Room The Criterion Collection #573' but it's definitely one of the best Blu-ray's to come from the Criterion Collection thus far. Granted it may not be too accessible for those not appreciative of cinema or Indian culture but if you are open and want to experience a film from one of the world's finest director's, then "The Music Room" is a must-buy for any cineaste!
Highly recommended!
Read Best Reviews of The Music Room (The Criterion Collection) (1958) Here
This is an amazing movie that explores the vanity and ruin of a once-prosperous feudal landlord (Biswambhar Roy) in Bengal around the turn of the century. Roy is a man who can not come to terms with a fast-changing world where his old feudal order is slowly disappearing and he is being upstaged by a vulgar money-lender (Ganguly) upstart whose family were once his beneficiaries and whom he considers beneath contempt for his lack of refinement. Even as he loses all else that he held dear, Roy remains a Zamindar to the end and decides on one last party in his Jalsaghar (music hall) that has remained closed for so long to teach the upstart a lesson.
The movie features excellent black-and-white cinematography, great acting and of course, the genius of Ray's direction.
To the lovers of music, this movie features a real treasure-trove of music with music direction by the late great Ustad Vilayat Khan, vocals by Akhtari Bai and a rare classic by the late Pakistani singer Salamat Ali Khan who was only 19 when he was recorded for this movie.
Want The Music Room (The Criterion Collection) (1958) Discount?
Director Satyajit Ray's fourth feature is set in the fading decadence of India's feudal 1920s. It's a moving portrait about of a proud who clings to the rituals of the aristocracy as India moves into the modern world.
A popular actor of his time, Chhabi Biswas plays Biswambhar Roy, a zamindar, or once a powerful feudal lord who clings to the last ratty remnant of his glory days in his crumbling mansion. We meet him swaddled in his robes sucking on a hookah like a baby on his pacifier when he hears music from a neighbor's place that takes him back to his earlier days when he could fund lavish celebrations on his wife and son
But alas, Roy's indulgence his addiction -to his passions do nothing to rescue the slow loss of his fortune as he competes with his neighbor and spends the last of his money on irrelevant displays of master artists in his beloved music room. But what is mostly revealed is Roy's social impotence along with his false sense of entitlement and his sadly deluded sense of social superiority. But make no mistake; this great film is also about something more than the power of music and memory in a changing culture. It's about the conflict of living in the moment and letting go of the residue of the past. Something exceedingly difficult for us humans no matter when or what the age in which we live.
This engrossing film is Ray's best and a wonderful introduction if this director in not known to you. The best extra on this full-frame B&W restoration is the two-hour documentary "Satyajit Ray."
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I went to see the movie with modest expectations, especially since some reviews haven't been overly kind to it. However, I as well as the 4 other people who saw it with me found it uproariously funny and sometimes even sweet. I really enjoy Adam Sandler in most of his films, and although this is a comedy, in this role he also displayed his sweet side much like he did in the Wedding Singer. He is actually a very good and expressive actor whose dramatic chops are underrated in many ways. And of course, I am a huge fan of the wonderful Jennifer Aniston, and she did a superb job here. There were also some other surprises....Brooklyn Decker was sweet, likable and relatable even beyond her obvious physical attributes. Nicole Kidman showed up in a character who was a bit over the top, but being a huge fan of her as well, I enjoyed this turn as we don't get to see her do comedy that often. Not every role needs to be deadly serious, after all. She had a lot of fun with this one and she was great to watch. Dave Matthews played her husband, and he was surprisingly good as well...perhaps he has a new career ahead of him in films. The only character that was too over the top and a bit obnoxious was the fellow who played Adam's long-time friend. Nothing about this guy was at all believable or particularly likable and you wanted to just swat him away as he was just downright silly and annoying, and he didn't really add much to the plot except as a necessary diversion device here and there. The Hawaii scenery (a lot of it filmed around and in the Grand Wailea in Maui) was beautiful, of course. I don't really want to get overly picky about this film. It was not meant to be highbrow cinema, but it was consistently funny and very enjoyable, definitely a film I plan to buy when it is released on DVD. Go see it, you'll like it.
