NFDC's Tagore Stories on Film DVD set aka Value For Money

I'll probably do reviews of some of the individual films on this set but this post is essentially to show you how good Indian DVD companies can make their releases of older films look when they're not completely jacking off in their customers' faces. In addition to the fact that none of the discs feature any unsightly watermarks (companies putting logos overlaying the picture should IMO be roasted over hot coals) this is the best release that some of these films have got so far. I'm including shots from the films I've seen in this set (You need to click on the pics and see in full size to appreciate their beauty).

First off is Tapan Sinha's Khudito Pashan (Hungry Stones). I don't believe there is any other available release of this film. An adaptation of a ghost story by Tagore, this one is one of the more battered looking releases on this set. The source is distractingly soft, bears burned-in subtitles that go out of sync in instances and has a significant degree of print damage (although scratches are mainly of a minor variety, nothing eye-gouging here). Also problematic is the weird aspect ratio. The film is encoded for the now defacto16:9 widescreen televisions with hard-coded vertical black borders on the sides. The aspect ratio for the actual film is a VERY non-standard 1.53:1 (737x480). It is possible that it's vertically cropped from a 4:3 ratio, but in general there are no obvious instances of such cropping, so I'm not sure what to make of it. On the other hand, the contrasts are towards the darker side, which is in tone with the sprit of the film, which is, apart from a clumsy last third, an  atmosphere-drenched haunting tale and a classic that deserves viewing.

Next up are screen grabs from Satyajit Ray's Teen Kanya (3 Women).  I'll take in order the first and second episodes only, since I didn't watch Samapti (Ray should have paced this one better, since it completely overshoots the appropriate time limit for the last in a set of 3 episodes).

Postmaster surprised me by how stable and damage free the image was for a film that old. Blacks are not Criterion deep but the contrast is impressively robust. There's a slight amount of strobing during pans, generally tolerable. The image is still on the soft side and the lack of strong grain indicates either a carefully stored video master or over-enthusiastically applied noise reduction. But this is still the best I have seen this film. Subtitles are optional.

Monihara is the "lost" episode of Teen Kanya, since in many instances of telecast or public screening, they eschew this one to cut the running time, making a mockery of the title. This is a neat little story of greed. The climax is cheesy and predictable for anyone that has read a few ghost stories. Nevertheless, I like this episode, especially for the leading lady's performance. It looks good, too, a tad more worn and dull than Postmaster but still blows away any previous video release.

Char Adhyay, a 1997 film from the decidedly arty Kumar Shahani. I'll probably do a review sometime soon, but check the video quality of this previously unavailable-for-love-or-money film. The print looks clean and relatively scratch-free and colors are good if a little faded. My major issue is with the ghosting that occurs during camera pans (fair number of them in the opening moments of the film), which is sometimes quite severe (the screenshot of the man walking in front of the painting is an indication). But like with the film, I was overall happy with the DVD too, considering that the chances of getting any better are nil.

Saved the best of what I've seen for last. Ghare Bhaire, I cannot believe how good this film looks here. You can take every previous video release of this film and burn them all. Colors are vivid without appearing blown, the careful lighting schemes are nicely reproduced and a thin layer of grain gives a lovely finish. This single disc alone is worth the price of the set!

So ya, spread the word. Anyone who is interested in this sort of film should snap up this set ASAP. And send in your e-mails/letters to NFDC, asking them to get off their lazy butts and release more of their catalog.

Sansho The Bailiff [Kenji Mizoguchi]

I liked Ugetsu Monogatari by the famous-but-not-as-famous-as-Kurosawa Japanese director Kenji Mizoguchi, but was told by those in the know that the skilfully crafted supernatural elements laced story is not typical of Mizoguchi's oeuvre and was recommended Sansho The Bailiff (STB) as a more representative work. Having duly seen it, I would say that while STB has its qualities, ones that would appeal more to those who regard cinema as an observation / critique of social structure and traditions, Ugetsu remains my preferred film by the director.

Set sometime in the Heian period of Japanese history (800-1200AD), STB's protagonists are Zushio and Anju, son and daughter of a compassionate governor who was exiled for trying to defend his subjects against the exploitative ordinances of the ruling class. When on a journey to join their father at his new station, the children are separated from their mother by slave traders and sold as servants at the house of the titular bailiff. Given that the story is always more focused on the doings of the Zushio and Anju, it's hard to understand why the film is named after him. Sansho's character has no depth either, he's the archetypal hard-ass that believes in working his slaves to the bone and punishing those that try to escape.

The brother and sister pair grow up in this harsh environment; While Zushio blindly follows his master's ruthless commands, including the branding of errant co-workers, Anju is the self-sacrificing stereotype. When one day Zushio is ordered to dump an aged slave in the mountains, Anju accompanies and persuades him to escape and search for their mother. With a promise to return, Zushio flees and in a convoluted way, comes to occupy the governorship his father once had. He comes back to the bailiff's house only to find, in true tear-jerker tradition, his sister long-dead.

So yes, if you like the unbridled predictable melodrama on display here or need a film to tell you how basic human rights of freedom, equality and justice were denied by a small ruling class coterie to the masses at large, STB does the job fine. It also doesn't hurt that Mizoguchi is a very skilled helmsman who has made excellent use of the camera (Kazuo Miyagawa - Rashomon) and editing (Mitsuzo Miyata - Ugetsu) resources at hand. The sequences of the kidnapping of the children, Zushio's escape from the bailiff's yoke, and Anju's death are particularly notable, and even in general the framing and splicing of scenes makes it obvious that he had very exact ideas of how the script would be filmed. But Ugetsu had equal or better examples of his fine directorial skill and was a more interesting narrative to boot.

Ultra-KLPD: Suraj ka Satvan Ghoda

No, this is not a review of the film. For my views on that, check out the piece I did on Shyam Benegal HERE. What this is, is one of the very blatant examples of how completely incompetent and/or contemptuous most Indian home video companies are with their releases. Comparing the transfers of Suraj Ka Satvan Ghoda by a US based company called Cinebella and the domestic release by Ultra Home Video. These are not exact frame comparisons, just casual shots I took while playing back the movies on VLC. Cinebella shots on the left and corresponding Ultra shots on the right:

(Click on them to see in larger size for finer detail)

This is not to say that the Cinebella transfer is perfect, far from it. The source print is in no way restored and has a fair amount of damage including many instances of minor blemishes/scratches. There is an annoying moiré effect whenever any furniture, clothing or props with closely spaced lines appear. Also, in my view, the color scheme is slightly more saturated than ideal. But what Ultra achieves is utter disgrace. It's like the people there thought, "The public here any way is not going to pay more than 200 bucks for a DVD, let's show them what we think of them", and dunked the print in a gutter. The colors of the film have been completely squeezed out and detail is murky. And all of this is besides the huge fugly Ultra logo that stays with you throughout the movie.

And what's the best part of this story? Cinebella is now defunct and their DVD of Suraj Ka... is out of print (I saw this on a DVD-R copy of that release, thanks to a friend), meaning that your options for watching this masterpiece of modern Indian cinema in any respectable manner are mighty slim. Someone at NFDC needs to be roasted on a spit for this.