Ray, Satyajit - Eric Rhode

ERIC RHODE

In general, Satyajit Ray's films embarrass the critics. Admirers go impressionistic, talk airily of Human Values, and look offended when asked to be more precise. Detractors are no less vague. Some of them call his work charming, in a tone which could hardly carry more weight of suspicion and distrust, or say they are not interested in the problems of the Indian peasantry. Only M. Truffaut, in describing Pather Panchali as Europeanised and insipid, has firmly placed himself in the opposition. This mustn't have taken him much trouble, since he apparently walked out of the film after the first two reels. Those who stayed on to the end, however, had every reason to be more hesitant; for the supposed simplicity of this work—and indeed of all Ray's films—disarms the critic. Only after close scrutiny do most of them turn out to be artefacts of the most subtle sort. It is a case of art concealing art, brought about by Ray's precise construction of...

[The entire page is 1884 words long]

Join eNotes

The above is a free excerpt. Get total access to this content with the:

eNotes Pass