4. December 2010: Moner Manush is a Bengali film directed by Gautam Ghose with Prosenjit Chatterjee as Lalon Fakir. Moner Manush essays the journey of life Lalon by a young man until he is around ninety. to illuminate an extraordinary film, the stars of Prosenjit in another dimension.
Cast and Crew:
Producer: Gautam Kundu (India) and Habibur Rahman and Faridur Reza Sagar (Bangladesh)
Story: Sunil Gangopadhyay
Written, directed, camera, music, choreography: Goutam Ghose
Production Design: Samir Chanda
Sound: Anup Mukhopadhyay
Editorial: Moloy Bandopadhyay
Cast: Prosenhit Chatterjee, Rasul Islam Asad, Priyangshu Chatterjee, Gulshan Ara Champa, Paoli Dam, Shubhra Kundu, Rokeya Prachi, Chanchal Chowdhury, Syed Hasan Imam, Shantilal Mukhopadhyay, Tathoi, etc.
Release Date: 3 December 2010
Rating: 8 / 10
Where shall I find him, "My soul man?
I lost it and walk the world to look through it,
Where shall I find him? My soul man?
Lalon Moner Manush in Phokir
Moner Manush - EXCELLENT
Lalon Phokir regarded as Baul of Bauls. Bauls sing their own songs of praise to the Lord. Lalon was probably born in the late 1700s in that part of the Nadia district now in Kushtia, Bangladesh, and died in 1890. He lived an amazingly long, productive and pious life, gathering disciples and composing hundreds of songs. Lalon rejected the division of society into communities protested and satirizes religious fundamentalism of all kinds, the only idea that we can get from what he really looked like from a sketch of Tagore Tagore Jyotirindranath brother to 5 May did in 1889, 17 months ago Lalon died. He composed 1,000 songs, has been pursued of which only 600 are. Legend has it that Lalon was a born Hindu and became a Muslim. In very young, Lalon was seated on a pilgrimage with friends, but contracted smallpox. He was left for dead. A Sufi practitioners saved him. If Lalon came home, his mother and wife refused to return it, because he had lived with a Muslim. Although they are within their own poetry sects and sub-sects differ, members of the Baul Phokir faith in all groups on subtle details of the exercise. However, they are unanimous in recognizing the Lalon Phokir be the best at their best.
Moner Manush-Prosenjit as Baul Singer
Moner Manush essays the journey of life Lalon by a young man until he is around ninety. The film begins with a Jyotirindranath Tagore on Tagore family that the land had on the Lalon Phokir aakhara heard (now in Bangladesh) Draw a sketch of Lalon. The two get into a discussion spanning Lalon arguments about religion, faith, humanity, life, death and so on in bojra (a luxury boat) from Jyotirindranath. The narrative moves back and forth between the debate in the present (1889) and Lalon begin life as a young man only in the music and songs and come back to the end of the discussion with Jyotirindranath puzzled and somewhat interested in his thinking by the transformed thought, philosophy and ideology of this semi-literate, much maligned yet revered old man, who said all through his poetry and his music and his singing. These frequent cutting back to the present not jar or make it in any way as the batch processing and the narrative are masterful in their grip over the narrative.
The river, still alive, infinite, timeless, both as a metaphor for life, death, relationships, faith, love and a parallel with the river-like life Lalon's, where he is born in his view to a two man in the same life . He was born Hindu die floated and rejected by his own and then with a second life of a Muslim midwife who saved him from the water of the river, with its Hindu employer. The sound, the music, the lyrics and the songs - all 32 of them are in the movies, and narrative space woven into the film so great that the film is not a musical. The music and the songs are almost unnecessary substitutes for dialogue.
Ghose's cinematography stands alone, tall and regal, lyrical and poetic, romantic and spiritual right through the film. But not overshadow his directorial command for a single minute. The beautiful landscape of the Shimultala, the shining moon in the river water on a full moon against dancing with candles lit interiors Jyotirindranath's bojra, the beautifully staged sequence of the singing baul of women against the background of the men on stilts, a boat rowers on the river as those that break the oars in a joyful song disks for a period brought on camera alive. The same applies to the background noise with the sounding of the crickets nights against the undertow of lapping water of the river, or the whine of a dog in the distance.
Prosenjit as Lalon has a power he never perhaps been able to surpass. With this single performance, he has all his critics for a lifetime and a little more to silence. You can not even recognize him as the star Prosenjit after a time he is so immersed in his performance. It reminds us of the Hollywood actor Jeff Bridges, who considers each service, a product of meditation and deconstruction. Priyanghsu Chatterjee is dignity personified as Tagore. Shantilal Mukherjee is very good in a cameo. Bibi Russell costumes for Lalon seem realistic at the time. Samir Chanda could be yet another National Award for his superlative production design in rebuilding a whole akhaara in Bangladesh draw without a single reference to win.
Shah Latif and Khuda Baksh, who have done playback for Lalon beautiful. Although their voices speaking voice Prosenjeet's are distant, they do not jar. The same applies to Farida Parveen, the famous singer who lent her voice in Bangladesh each dance number on screen lip-sync Paoli Dam. There is no notation of Lalon songs. Sun Ghosh tried to get the songs from the present Baul master Kushtia, the birthplace of Lalon. Moner Manush She picks up a different spiritual level as a whole, as it discovered another feature of the cinema - the ideology of the men and women from intolerance to tolerance change, from religion to humanity, of love and hatred of God into something that reached about God as we know, and to limit it.
No comments:
Post a Comment