I’ve been on a foreign film kick as of late, exploring titles from Michael Haneke, The Vengeance Trilogy from Park Chan-wook, and Lars von Trier’s Golden Heart Trilogy. Haneke’s The Piano Teacher (2001) and Amour (2012) contain musical elements that provide the base from which the plot develops and ultimately surrounds, the scenes in Park Chan-wook’s Old Boy (2003) reads like a soundtrack, and von Trier’s Dancer in the Dark (2000) is musical both figuratively and literally. Further, the guys at Filmspotting podcast turned me on to the works of Satyajit Ray through one of their Marathon’s earlier this year.
The Music Room (1958) is famed Indian director Satyajit Ray’s fourth film. Following his critically acclaimed debut Pather Panchali (1955), the follow-up Aparajito (1956) of the Apu Triology, as well as the comedy The Philosopher’s Stone (1958), The Music Room is Ray’s homage to and innovation of Indian Musical Cinema. No fantastical musical dialogue or random dancing scenes, more earnest and determined than other films at the time.
During the film, a declining Landlord hosts ceremonies in the Music Room of his palatial Bengali mansion. Being used to lavish concerts held on his estate, his music obsession is his economic and familial downfall. Hiring renown singers, musicians, and dancers for performances being held more to maintain his prestige among townsfolk than being a true celebration. Often organizing his own parties only after hearing of his neighbor’s celebration.
Upon being notified that the bank has closed his credit line, Lord Roy mortgages the remaining family jewels for a New Year’s performance. Calls wife and son back to attend the Bengali New Year’s Day Celebration in an effort to keep up pretenses. Heavy scene as Satyajit Ray uses the drowning insect as a metaphor to foretell imminent events. Disavowing music and closing The Music Room, Lord Roy secludes himself upstairs for for four years, aging greatly during that time. Finally venturing downstairs to see his son’s horses as the first vehicle arrives in the area. One last concert as Roy spends the last of his wealth.
Film drones on like a sitar as Lord Roy holds one celebration after another to keep up with the business man neighbor. A sense of modernity overtaking traditional customs. Extended dance scene that demonstrates the cultural dance but going on a bit too long. Black and white suits the drab feeling and drab landscape. Dark and brooding this film is a stark contrast to the “colorful” Pather Panchali. A must see for those seeking out classic foreign films.
- Subject: 3.0
- Camera: 3.75
- Style: 4.0
- Soundtrack: 4.0
- Overall: 4.0
- Total: 3.75