SAMTHEBESTEST

Akaler Shandhaney (1982): Brief Review -

Mrinal Sen's powerful commentary on the contrast between cinematic representation and harsh reality-set against the backdrop of the devastating Bengal Famine. While Satyajit Ray's Ashani Sanket brilliantly examined the consequences of World War II and the 1943 famine, Sen chooses to explore a different dimension of the same event. The result is both thought-provoking and unsettling. The film follows a movie crew arriving in a village to shoot a film about the famine. While the director is deeply committed to the subject, much of the crew remains disconnected from the gravity of the tragedy they're depicting. One of the actresses slowly begins to understand its weight-but by then, it's too late. The director himself faces mounting challenges while filming, as he becomes increasingly aware of the emotional and cultural scars the famine has left behind. The screenplay delves into the trauma through recreated scenes that stir haunting memories in the villagers-particularly a woman named Durga. It's a disturbing juxtaposition: the crew's attempt to dramatize suffering versus the villagers' lived experience. For those of us watching from urban comforts, the film reminds us how easily the depth of such a catastrophe can be overlooked. Mrinal Sen brings that discomfort close to the skin-you can feel its burn. Though the pacing falters at times, the narrative remains engaging. Dhritiman Chatterjee gives a standout performance, while Smita Patil effortlessly immerses herself in her role. Gita Sen is a revelation, and the rest of the cast adds strength to the ensemble. The headmaster's final speech is my high point here-poignant and unforgettable. While not overtly traumatic or harrowing, Akaler Shandhaney operates as a slow-burning exploration of truth versus artifice. It's a concept where the real famine victims confront the cinematic famine seekers-with haunting effect.

Rating - 7/10*

By - #samthebestest.

Nirmalyam (1973) : Brief Review -

5 decades before Kantara, but more realism and less heroics. Nirmalyam is considered a classic in Malayalam cinema, and I can see why. The Oracle offering scene in the climax is deeply unsettling. While we've recently hyped Kantara for its grand climax, that film leaned heavily on heroic gestures and massy spectacle. In contrast, Nirmalyam presents the ritual with authenticity and gravity, and the reason behind its tragic conclusion feels painfully real. The story revolves around an Oracle, a medium between the goddess and her devotees. According to the villagers, the goddess speaks through the Oracle's body. So, when any major issue arises, the Oracle is expected to find a divine solution. The film portrays the struggles of the Oracle and his family-there's no income, no prosperity in the village. His daughter falls in love with a newly appointed temple priest, who ultimately abandons her after a physical relationship. Every conflict is rooted in reality. The love story is sincere but cannot find a happy ending due to circumstances. With a runtime of over two hours, the film does feel slow at times-I admittedly found myself reaching for the fast-forward button. The dialogues are grounded and carry a strong sense of realism. P. J. Antony delivers an outstanding performance, fully deserving of his National Award for Best Actor. Sumithra looks beautiful and performs well, while Ravi Menon's role served as a breakthrough in his career. The screenplay is meaningful but sluggish. The cinematography and sound design are decent. M. T. Vasudevan Nair directs the film in a style that's far removed from commercial cinema-this is more of an artistic film, best suited for a niche audience. Overall, a sincere attempt, though I'm unsure if it truly deserved the National Award for Best Picture.

RATING - 6.5/10*

By - #samthebestest.

Adi Shankaracharya (1983) : Brief Review -

A Sansrit language film made in Kannada cinema that pays tribute to the greatness of Hindu Philosophy and Monism. It stands as one of those experimental films from Kannada cinema with pan-India appeal-though mainly among Hindus. Almost every Hindu in India is familiar with the name Adi Shankaracharya, and his doctrine of Nondualism has been deeply admired and followed by countless disciples over generations. This film chronicles his life with minimal deviation, capturing key events of his spiritual and philosophical journey with impressive authenticity. Special thanks to the person who uploaded this film on YouTube with well-synced subtitles, including helpful pretexts for events, actions, and locations. The film begins with Shankaracharya's childhood and his plea to his mother to pursue the path of Monism. From that moment on, he walks unwaveringly on the Sanatani path. His scholarly debates and discourses earn him a reputation and followers across regions. As the film progresses, we journey with him through the milestones of his life-his teachings of Monism, humanity, and equality-and how he tried to remove jealousy from human nature. The dialogues are powerful and poetic, delivered aptly in Sanskrit, a language that perfectly encapsulates the depth of the story and philosophy. However, the film is long and slow-paced. Even at 2x speed, it feels sluggish. Extended pan shots and aerial views-some lasting over a minute-show Shankara and his companions walking across landscapes. The frequent Sanskrit chants, while authentic, might not resonate with viewers unfamiliar with the mantras. Sarvadaman D. Banerjee, along with the child actor who played young Shankara, deliver praiseworthy performances. G. V. Iyer's direction makes this an absorbing biopic, though not always fully engaging. Still, a superb film for its time and for Kannada cinema.

RATING - 6.5/10*

By - #samthebestest.