Les Joueurs d'échecs

Being from a particular region in a country like India comes with its goods and not so goods. People from one part of the nation don't necessarily always know of the legendary works of art that happen in another place. Like people in Orissa being unaware of the deep rooted humanitarian movies that come out of the Tamil movie industry or folks in Kerala not aware of some genuinely wonderful pieces of cinema from West Bengal. One cant do too much about this divide given that the Herculean and almost obnoxious presence of 'Bollywood' continues to act as the fort that isolates several pockets of creative work in their own shells. Sad but true.

Then there are some film makers whose movies transcend language and region. Film makers like the late Academy Award winner Satyajit Ray sa'ab. OK - I will admit. Except for a few brief scenes from 'Pather Panchali' I have not seen any other movie of this great man. Reason? Well, either it was the lack of the need to have to sit through a language I know nothing of and having to squint at the badly framed English subtitles or it was just plain desi callousness that believes the majority is usually right. You know, the classic Indian thinking that has the 'if everyone says it then it has to be great' attitude peppered all over it. I am sure there are millions out there who will still tell you that Satyajit Ray was an amazing movie maker without having seen a single frame he might have shot. Considering I too have indulged in such blatancy every now and then, 'Shatranj Ke Khiladi' seemed like the only chance I would get to savor Mr. Ray's cinematic beauty. After all, it was indeed the only Hindi/Urdu movie he made in his life, isn't it? Hence when I found the chance I took it.

Set in the late 1800s in the then Hindustan 'Shatranj Ke Khiladi' runs with two main stories parallel to one another. One – the larger of the two which shows a determinedly boorish English General Outram (a much younger looking Sir Richard Attenborough) pitted against Awadh's incompetent yet culturally aware Mughal King Wajid Ali Shah (a generously rotund Amjad Khan). The company wants to take over Awadh which remains the final province that is still run by royalty. So it decides to look past a decade old treaty that had promised that Awadh's royalty would never be lost. But, knowing the way the company ruled the sub-continent, the poetically humane King's defiance is brought under test as the concubine infested regal refuses to budge from his throne.

The second interestingly laid out strand is that of old buddies Mirza Sajjad Ali (a wonderfully flawless Sanjeev Kumar) and Mir Roshan Ali (an effervescent Saeed Jaffrey). These two upper middle class noblemen who sit around all day sucking at their well made hookahs and ignoring their frustrated spouses are absolutely obsessed with the game of chess. It is as if nothing – not even the lack of pawns to play with – can stop them from going at it well and good for a few hours each day. While Sajjad Ali's wife (Shabana Azmi is a small but well placed role) decides to find solace in the housekeeper's stories, Roshan Ali's wife (a chubby and visibly mischievous Fareeda Jalaal) chooses to find solace in the arms of a much younger man (a nervous Farooque Shaikh) right under the nose of her unsuspecting husband.

Ray beautifully juxtaposes the story of two chess players with the moves that take over their province and their lives as a foreign power enters their land. While the King is confronted by the orders of the Union Jack under the umbrella of the soulful songs he has composed, the chess players continue to find ways to get a good spot to sit down and well - play a good round of chess. A game, as it turns out, that ends up putting their friendship at stake just like the throne of their clueless King.

The one thing that comes off as obviously as the attention to pretentious 'paan holders' by these Lucknawi laat saahebs is Ray's understanding of the human condition in those times. The beautiful focus to detail of the surroundings only amplify the saga that unfolds eventually while the red vested British army marches into the Awadh province. Cinematography is crisp and captures the fading lights of the royal reign quite effectively. What struck me as more amazing was Ray's wonderful acknowledgement to the way such potentially affluent cultures used to work during that era. The fact that people in them would rather spend more time on keeping their indulgences alive than worry about their future under the Raj was an eye opener to say the least.

Performances wise everyone does his/her bit effectively. Seasoned actors Sanjeev and Saeed chip in a beautiful contribution. A young Amjad Khan (still fresh from the finely baked success as 'Gabbar Singh' in Sholay) delivers an earnest performance as the King who has his heart in the right place but his head in the wrong spot. As mentioned earlier, a tight lipped Sir Attenborough with a fluent Tom Alter play the scheming Englishmen who are preparing for Awadh's fall with orders from Her majesty the Queen.

All said and done 'Shatranj Ke Khiladi' definitely stands out as a Ray classic that is truly a testament to his life as a master story teller. I am glad that even if this is the only movie I will ever watch of Mr. Ray then at least it is based on a story by the legendary Shri Munshi Premchand. Could there be a better example of two Hindus coming together to design such a sensitive and relevant epic about the Muslim reign and culture? Unlikely, according to me.

This movie is a precious gem. I have not seen anything like it and only a rare amount of movies dare to be as different. One cannot expect any less from Satyajit Ray, one of India's greatest filmmakers. Shatranj ke Khiladi is a satirical comedy that stars the best actors delivering the finest performances. Amjad Khan and Saeed Jaffrey definitely did their best for this movie. Sanjeev Kumar and Shabana Azmi are excellent as always. Richard Attenborough and Victor Banerjee do very well with their small roles. I was also surprised to see Farida Jalal in a negative comic role as an unfaithful wife. Ray also applies his artistic talents in set designs as you'll see some beautiful paintings. Background music is limited but used effectively. The movie was shot brilliantly where it is quite evident that the director has given attention to very little detail. There is one scene where Sanjeev Kumar goes to his room to see his wife. Saeed Jaffrey is waiting for him. We soon see a scene where Jaffrey goes to check on Sanjeev then when he returns...we see a hand changing the position on the chess board. This is just one of the finest example of excellent direction, among the many you'll witness in this classic masterpiece. The events of the 19th century are portrayed very poetically. While some may say that the pace is slow, it did not bore me one bit and there was always something happening. This, indeed, is a fine piece of film-making. I suggest you go and watch it.

The Chess Players is a curious film by the famed Indian director Satyajit Ray. Half in Hindi and half in English which is curious in itself. The story is about the take over of the Kingdom of Oudh, capital Lucknow, by the British. It shows the complete deceit of the British in their takeover of the Indian Sub Continent using underhand methods based in their emasculation of the Indian rulers. The Nawab of Oudh is a cultured Muslim ruler in the tradition of The Moghuls. The qualities admired by the culture of the time were not militaristic and patriarchal but cultural and aesthetic. The Nawab often sang songs to his people and danced for them or read poetry and wrote it of course. This was considered by the British to show signs of effeminacy and not good government. I fact the subjects of the Nawab who were for the most part Hindus, loved their Ruler for precisely these qualities and even though he was of a different faith, lived happily in a cultural paradise. The British represented by Richard Attenborough show a total lack of understanding of this culture and in a cynical move annex the kingdom and send the Nawab into exile.There was interestingly enough, no attempt at resistance but a bland acceptance of the will of God. Strangely sad and haunting film from one of India's greatest directors since Independence. Trivia. Lucknow was the city that Cliff Richard was born in and lived as a child before Independence.

This was my first Satyajit Ray movie. And I have to tell you that he truly deserved the lifetime Oscar that he got. The movie is a true classic. And Sanjeev Kumar proves again that what a class actor he is. Sayeed Jaffery and Amjad khan were also very good. The camera angles used in the movie were simply terrific. Especially that scene in which Sayeed Jaffery changes the pawns. This movie however I might say that is not for a regular movie viewer. As the story is slow and you get to know what a real art movie is. I hope Satyajit Ray would have made some more Hindi films for the Hindi viewers. I really loved it and would recommend it to anyone who loves art movies. A true gem of a movie.

Legendary Bengali director Ray's only film in Urdu, Shatranj Ki Khiladi or The Chess Players, looks at the denouement of Indian Muslim power in the 1850's, focusing on the northern state of Oudh, also known as Awadh, prior to the epochal 1857 'Mutiny'.

The film contains two narratives. One narrative focuses on the political machinations of the bullish, pragmatic representative of the British, General Outram, played capably by Richard Attenborough, and the diffident response of the cultured but cloud-headed Indian Muslim King of Oudh, played with great feeling by Amjad Khan.

The other narrative shifts focus to the tragi-comic situation of two well-born Indian Muslim gentlemen, played by the always-wonderful Saeed Jafarey and Sanjeev Kumar, and their obsession with a game of chess, leading them to neglect the momentous tide of history which is about to sweep over them. Indeed, not only is chess a metaphor for the power struggle between Indian and British, but the two chess players' family situations are too, with both men locked into domestic struggles with their wives, the haughty, beautiful Khurshid, played with characteristic commitment by Shabana Azmi and the lascivious, lying Nafisa, well-played by Farida Jalal.

The twin approach is useful and well integrated, and there is even some humorous animation. Ray brings his characteristic eye for ravishing beauty, balanced with his close, sympathetic interest in humanity, particularly when under pressure, and a real feeling for the period. Also typical is the universality of the director's humanitarian outlook, with the nominally Hindu Ray studying Muslims and the British with the same warm but clear-eyed assiduousness.

Overall, this is a film, like all of Ray's films, to treasure, not only for a person of Indian ancestry such as myself.