Les Joueurs d'échecs

Shatranj Ke Khilari is Sayajit Ray's first Hindi movie. It is, though a bit too slow at points, special, different, comic, and as a result unusually entertaining. This satirical drama is humorous, interesting and impressive, and Ray's direction is excellent. It is evidently well invested, with glossy sets and costumes. The writing is superb, with the brilliantly-written dialogues surpassing the storyline itself, and the culture and the atmosphere of those times is captured exceedingly well. All these aspects, along with the music composed by Ray and the fantastic narration of Amitabh Bachchan, create an engagingly artistic and poetic piece. Ray casts some of the most talented leading actors from the Hindi film industry, all of whom suit their roles and do a wonderful job. Amjad Khan is great as Nawab Wajid Ali Shah. Sanjeev Kumar and Saeed Jaffrey are exceptional as the chess-obsessed noblemen, who ironically indulge in ceaseless chess playing while showing minimal interest in the state of their marriages, wives and even their nation. Shabana Azmi and Farida Jalal play their neglected wives, and they excel in their very tiny roles (each has only a few minutes on-screen). Azmi is convincing as the frustrated Khurshid and Jalal is awesome as the unfaithful wife who has an affair with her husband's nephew Aqueel. Richard Attenbrough and Victor Banerjee provide great support. Shatranj Ke Khilari is a nice little film. It is not among the very best of Ray, but it is certainly a worthy picture and of the most strikingly unique films of those times.

Two aristocrats oblivious to what is going on around them play chess around the clock while the British plan a takeover of a northeastern Indian kingdom. These threads are interwoven seamlessly in Satyajit Ray's delightful comedy, The Chess Players, recently released on a Kino DVD. The film does not spare either side from the thrust of its gentle dagger, depicting both the apathy of the Indian upper classes and the arrogance of the colonial masters. Like many Satyajit Ray films, there are gorgeous dance sequences and appealing musical numbers, but unlike most, the spoken language is Urdu not Bengali, and it is a big budget film in Technicolor using name actors.

Based on a short story by Prem Chand, the film is set in Lucknow, India in 1856 and is narrated by the real Amitabh Bachchan. As the film opens, we learn that Oudh's King Wajid Ali Shah (Amjad Khan) has financed the British East India Company for ten years and also provided soldiers for its army. In exchange, the Company did not interfere with Wajid's rule, even though they viewed the king with disdain. This changed in 1856 when General Outram (Richard Attenborough) was instructed to depose the king and take over the kingdom to add to the British coffers. Outram, the local representative of the Company, justifies his ambitions for more territory by denouncing the king to an aide as an incompetent ruler and hedonist, ignoring his devotion to dance, poetry, and music.

In another thread, two Indian aristocrats Mirza (Sanjeev Kumar) and Meer (Saeed Jaffrey) play chess obsessively to the dismay of their wives, Khurshid (Shabana Azmi), and Nafisa (Fardia Jalal). Mirza's wife feeling neglected, steals and hides the chess pieces, while Meer's wife has an affair with his nephew (Farooq Shaikh). Unwilling to handle their domestic affairs, the two first use fruits and vegetables as their set pieces, then seek other places to play their game, refusing to believe that the British takeover is imminent. One of their stops is the home of their attorney who is on his deathbed. This doesn't stop the two from hilariously trying to sneak in a game of chess in another room.

The two players cling to their way of life, exchanging frivolous banter and smoking hookah pipes while the world around them crumbles. They finally take refuge in the home of a young boy, Kullu (Samarth Narain) who remained while others fled just to see the red-coated British soldiers march into the city. While perhaps not in the upper echelon of Ray's work, The Chess Players is a very entertaining political satire that provides wry insight into human nature and our capacity for denial. General Outram is portrayed as a well-meaning but totally condescending individual who utterly fails to understand the lives and culture of the people he seeks to control. Any resemblance to current U.S. Muddle-East policies, of course, is purely accidental.

I heard great things about this movie and it lives up to expectations. I am a great fan of Satyajeet Ray and he showed us again that he is a master story teller and craftsman.

He showed us his mastery in costumes, their colors, landscape and above all the tempo and dialogs. Especially the one to one talks of Mir and Mirza are great (all are in Proper Urdu which is common in that era). From lighting (the sunsets in the end) to capturing the true emotions (the way he showed the desperation of two wives) is remarkable. Setting of the movie from the very first scene to the end is just amazing in a sense how he tackles different issues to recreate that era.

Acting is pretty good from Mir and Mirza. Rest is just doing their part well.

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.

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.