Podcasts about Pather Panchali

On Episode 163 of Floating Through Film, we're starting a new series picked by Dany, Satyajit Ray! The guys give their thoughts on what they think of Ray, before Dany starts the series by talking about the Indian aesthetic concept of 'Rasa' and what it means in relation to Ray's approach in the Apu Trilogy. We then review all three movies of the trilogy, starting with 1955's Pather Panchali (25:03), moving to 1956's Aparajito (1:34:34), before concluding with 1959's Apur Sansar (2:20:33)Episode Next Week: The Big City + CharulataMusic:- Intro: Pather Panchali (https://www.youtube.com/watch?v=4XrYvWadSn8&list=PLI_x1mLm1TLqpWpS2kJ7DIOvsSKvJJ2FV&index=11&ab_channel=RaviShankar-Topic)- Break #1: Aparajito (https://www.youtube.com/watch?v=gJn-G1Jrov0&list=PLI_x1mLm1TLqpWpS2kJ7DIOvsSKvJJ2FV&index=7&ab_channel=RaviShankar-Topic)- Break #2 Apur Sansar (https://www.youtube.com/watch?v=idDEZYkYH4I&list=PLI_x1mLm1TLqpWpS2kJ7DIOvsSKvJJ2FV&index=2&ab_channel=RaviShankar-Topic)- Outro: Apur Sansar (https://www.youtube.com/watch?v=R0TZ1Ubxpq4&list=PLI_x1mLm1TLqpWpS2kJ7DIOvsSKvJJ2FV&index=3&ab_channel=RaviShankar-Topic)Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s)Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker)Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm)Podcast Links Spotify and Apple: https://linktr.ee/floatingthroughfilmLetterboxd: https://letterboxd.com/floatingfilm/Email: floatingthroughfilm@gmail.com

In this episode, it's time once again for our monthly Roundup segment where we go around the room and discuss the other movies we watched in the month of April! This month included "Sinners" (2025), "Presence" (2025), "We Live in Time" (2024), "Heretic" (2024), "Jojo Rabbit" (2019), "Hot Fuzz" (2007), "Pather Panchali" (1955) and more! We also reveal our Year of the Nineties selections for May. Listen now!

Dhruv and Cris take a minor detour from the endlessly mysterious world(s) of David Lynch to a somewhat more familiar one in their second (of they don't know how many) eps on David Lynch. And joining them is a returning guest, Arijit Paul, who is thankful to Lynch (especially his work in "Eraserhead") for not only inspiring him to pursue a career in (film) sound but also for validating his love for cigarettes.We listen to Arijit's wonderfully strange stories of discovering Lynch and the strange memories his films inspire in him before talking in detail about one of Lynch's more "conventional" movies -- "The Elephant Man" (1980), which both Dhruv and Cris are decidedly more mixed on than Arijit. Listen to the full episode to hear them talk about why they love half the movie and not the entirety of it and why David Lynch -- even minus all the bursts of surrealism -- is an incredible filmmaker. Major spoilers for “The Elephant Man”!TIME CODES The Irresistible Allure of Lynch's Films: [00:00 - 20:37]"The Elephant Man": [20:37 - 01:04:56]Cris doesn't like "Pather Panchali"?!: [01:04:56 - 01:11:53]The Biopic Template: [01:11:53 - 01:14:18]Outro (a.k.a Bullshit): [01:14:18 - 01:27:43]TEXT REFERENCED REPEATEDLY"Room to Dream" (David Lynch & Kristine McKenna).Do hit 'Follow' on Spotify if you haven't already to help the podcast reach more people!Follow our Instagram page: ⁠⁠https://instagram.com/queenisdead.filmpodcast.⁠⁠You can follow us on Instagram at:ARIJIT: https://www.instagram.com/_tentinquarantino_/.CRIS: https://www.instagram.com/prdscris/.DHRUV: https://www.instagram.com/terminalcinema/.You can also follow us on Letterboxd at -ARIJIT: https://letterboxd.com/nostradamus/.CRIS: https://letterboxd.com/prdscris/.DHRUV: https://letterboxd.com/aterminalcinema/.

How might a simple life constrain us more than we think?Following past discussions on the indifference of nature in the face of mankind's modern ambitions, this week's episode delves into the hidden realities of subsistence living by examining Satyajit Ray's Pather Panchali (1955).We also briefly discuss:Flow (2024) d. Gints ZilbalodisEdge of Tomorrow (2014) d. Doug LimanContact UsEmail: contact@jimmybernasconi.comInstagram: https://www.instagram.com/filmsfortoday/

Pather PanchaliHosts: Clark Coffey & Cullen McFaterAn adaptation of Bibhutibhushan Bandyopadhyay's 1929 Bengali novel of the same name, 1955's Pather Panchali marked Satyajit Ray's directorial debut and features a non-professional cast laid on the backdrop of the authentically filmed Indian countryside. Clark and Cullen discuss the film's wider importance and the trajectory of many of those involved's careers.Pather Panchali TrailerDirector: Satyajit RayStarring: Kanu Bannerjee, Karuna Bannerjee, Subir BanerjeeSocials:FacebookTwitterInstagram

Welcome back to A Century Of Stories: India presented by IDFC FIRST Bank! In this video, Kunal explores the groundbreaking influence of Pather Panchali, the debut film by legendary Indian director Satyajit Ray. Released in 1955, this cinematic masterpiece not only introduced the world to Ray's poignant storytelling and neorealist style but also reshaped global perceptions of Indian cinema. We'll delve into how its lyrical portrayal of rural life, emotional depth, and focus on humanism broke away from Bollywood conventions, inspiring filmmakers worldwide. Discover why Pather Panchali is still hailed as a monumental work that paved the way for India's presence on the global film stage. Subscribe for more such captivating stories! New episodes out every Monday! #PatherPanchali #Satyajit Ray #Cinema #ACenturyOfStories Open IDFC FIRST Bank savings account :  https://www.idfcfirstbank.com/personal-banking/accounts/savings-account?utm_source=ig&utm_medium=content&utm_campaign=June&utm_content=COS Know more about Zero Fee Banking : https://www.idfcfirstbank.com/getmorefromyourbank?utm_source=youtube&utm_medium=centuryofstories&utm_campaign=cosepi1&utm_term=Aug23 Follow ‘A Century of Stories' official Instagram handle at @acenturyofstories Subscribe to A Century of Stories YT channel Listen to A Century of Stories across Audio Platforms Apple Podcasts | Spotify | Google Podcasts | Gaana | Amazon Music | Jio Saavn Follow our host Kunal on Instagram at @kunalvijayakar And don't forget to rate us!See omnystudio.com/listener for privacy information.

Welcome to the 7th episode of our Trilogies series. We hope you enjoyed our last episode where we looked at the Back To The Future Trilogy. We are changing things up on these Trilogy episodes just slightly and we are going to be talking about our first non-American/Hollywood trilogy. This episode we will be taking you to the Bengal region of India to discuss and review the classic and influential trilogy: The Apu Trilogy directed by Satyajit Ray. One of the most influential filmmakers of all time. The films include Pather Panchali (Song of the Little Road), Aparajito (The Unvanquished), and Apur Sansar (The World of Apu) and they are based on two books written by Bibhutibhusan Banerjee. The films were shot over the course of five years with the same crew members. Pather Panchali was Ray's directorial debut. On this episode, we do go into detail on these classic pieces of cinema from India, films very much inspired by Italian Neo-Realism and majority of the films have non-classically trained actors. We recommend you watch the films first before listening to this episode, if you haven't watched them already. We do go into spoilers. They are available on Blu-Ray and also on The Criterion Channel. We hope you continue to enjoy this new Trilogies Series we're doing and we also hope you enjoy this episode.Stay Tuned for more!We will be returning back to our usual programming after taking it a bit easy this summer. So stay tuned for more episodes, like Liam & Noel Gallagher: we're back!Follow us on our Instagram page. We're vacating our Twitter page due and the site in general.Follow our Letterboxd page where you can see what we were recommending to each other over the course of the Covid-19 Pandemic:Also check us out on Letterboxd too!AndersAdam Hosted on Acast. See acast.com/privacy for more information.

Feast your ears on listener Ashik Eqbal Tokon's “Transformative Journey” essay. All it takes is a little click on the “Play” button above! Hello everyone!This week on The Sound Kitchen, you'll hear an essay by listener Ashik Eqbal Tokon from Rajshahi, Bangladesh.  I hope you'll be inspired to write an essay for us, too!If your essay goes on the air, you'll find a package in the mail from The Sound Kitchen. Write in about your “ordinary” heroes – the people in your community who are doing extraordinarily good work, quietly working to make the world a better place, in whatever way they can. As listener Pramod Maheshwari said: “Just as small drops of water can fill a pitcher, small drops of kindness can change the world.”I am still looking for your “This I Believe” essays, too. Tell us about the principles that guide your life … what you have found to be true from yourvery own personalexperience. Or write about a book that changed your perspective on life, a person who you admire, festivals in your community, your most memorable moment, and/or your proudest achievement. If your essay is chosen to go on the air – read by you–you'll win a special prize!Send your essays to thesoundkitchen@rfi.frOr by postal mail, to:Susan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceI look forward to hearing from you soon!Here's Ashik Eqbal Tokon's essay:The Transformative Journey, Inspired by Pather Panchali As a child growing up in the bustling megacity of the 1980s, I was accustomed to the constant hum of trains, the clanging of trams, the honking of buses, and the rhythmic peddling of rickshaws. My world was a mosaic of concrete, electricity, radio broadcasts, and black-and-white television screens. It was a life saturated with modern conveniences and rapid movement, where nature seemed distant, relegated to small parks and occasional glimpses of the sky between towering buildings. However, this perception shifted dramatically when I encountered a short story extracted from the novel Pather Panchali by Bibhutibhushan Bandopadhyay. The tale of Apu and Durga's discovery of the train in their remote Bengali village captured my imagination with its vivid descriptions and emotional depth. The scene where they run through lush fields, their eyes widening in awe at the sight of the train, resonated deeply within me. This moment became etched in my mind, igniting a spark of curiosity and longing for a world beyond the urban sprawl.My First Journey to the Village Shortly after reading the story, I had the opportunity to visit my ancestral village, a place starkly different from my city life. The journey began with a train ride that mirrored Apu's wonder and excitement. As the train chugged through the countryside, I gazed out of the window, mesmerized by the passing landscapes. Rivers snaked through the green fields, and orchards of mangoes, lychees, and jackfruits painted the scenery with vibrant colors. It was as if I had stepped into Apu's world, experiencing the same unmeasurable happiness he felt. The bus journey that followed took me deeper into the heart of nature. The scent of fresh earth and blooming flowers filled the air. The sight of villagers working in the fields, children playing under the shade of trees, and the serene flow of rivers created a permanent visual in my mind. This experience was a revelation, a tactile encounter with the natural world that Apu had introduced me to.Discovering Pather Panchali in My Teenage Years As a teenager, I read the full novel Pather Panchali and felt an even stronger connection to Apu's journey. The book opened my eyes to the beauty of nature, the simplicity of rural life, and the profound emotions tied to family and survival. It made me realize that true happiness and fulfillment could be found in the simplest of experiences and the purest of surroundings. This realization shaped my life's journey and passions. I developed a deep love for travel, seeking out places where I could immerse myself in nature's embrace. The novel's influence led me to explore diverse landscapes, from the golden deserts of Rajasthan, India, to the lush hills of Bhutan. I found joy in the contrasting environments—the tranquil charm of Thailand's beaches, the cultural richness of Bali, the waves of the Bay of Bengal, and the expansive horizons of the Indian Ocean, Arabian Sea, Gulf of Thailand, and Java Sea.Embracing My Home Country, Bangladesh One of the most profound impacts of Pather Panchali was how it deepened my appreciation for my own beautiful country, Bangladesh. After my teenage years, I have had the privilege to explore all 64 districts of Bangladesh, each with its unique natural beauty and cultural heritage. From the verdant hills of Sylhet to the serene beaches of Cox's Bazar, the majestic Sundarbans mangrove forest to the vibrant cultural tapestry of Dhaka, every corner of Bangladesh offered a new discovery and a deeper connection to my roots. The green landscapes, the winding rivers, and the warmth of the people in Bangladesh constantly reminded me of Apu's world. This profound connection to my homeland enriched my life and reinforced my love for travel and exploration. Bangladesh, with its rich history and diverse natural beauty, continues to be a source of inspiration and joy.Embracing Nature and the Love of Travel Pather Panchali taught me to appreciate the feather-light touch of nature, to find beauty and peace in its presence, even in the most unexpected places. Whether it was the arid sands of Rajasthan, where the desert winds whispered ancient tales, or the verdant hills of Jalpaiguri, where the air was thick with the scent of tea leaves, nature became my sanctuary. The novel instilled in me a sense of wonder and a desire to explore, to experience the world through the lens of its natural splendor. In Thailand and Bali, I found a different kind of charm, where the azure waters and golden sunsets painted the skies with hues of tranquility and adventure. Swimming in the waves of the Bay of Bengal and the Indian Ocean, I felt a connection to the vastness of the world, a reminder of Apu's endless curiosity and love for discovery. The icy expanse of Mongolia, though harsh, revealed the serene and stark beauty of a world wrapped in snow and silence, expanding my understanding of nature's extremes.Final WordThe transformative power of Pather Panchali by Bibhutibhushan Bandopadhyay lies in its ability to transport readers into a world where nature and simplicity hold profound meaning. For me, the novel was not just a story but a catalyst for a lifelong passion for travel and an enduring love for the natural world. It taught me to seek out the beauty in every corner of the earth, to cherish the moments of awe and wonder, and to find joy in the journey itself. This timeless tale of Apu's adventures has forever changed my perspective, making every travel experience a homage to the spirit of discovery and the beauty of nature, from the warm beaches of Bali to the freezing steppes of Mongolia, and the verdant beauty of Bangladesh, my beloved homeland.The music chosen by Ashik is “Janmo Amar Dhonno Holo Mago” by Azad Rahman, sung by Sabina Yeasmin.Be sure and tune in next week for an essay written by Bidhan Chandar Sanyal.  Talk to you then!

Feast your ears on listener Ashik Eqbal Tokon's “Transformative Journey” essay. All it takes is a little click on the “Play” button above! Hello everyone!This week on The Sound Kitchen, you'll hear an essay by listener Ashik Eqbal Tokon from Rajshahi, Bangladesh. I hope you'll be inspired to write an essay for us, too!If your essay goes on the air, you'll find a package in the mail from The Sound Kitchen. Write in about your “ordinary” heroes – the people in your community who are doing extraordinarily good work, quietly working to make the world a better place, in whatever way they can. As listener Pramod Maheshwari said: “Just as small drops of water can fill a pitcher, small drops of kindness can change the world.”I am still looking for your “This I Believe” essays, too. Tell us about the principles that guide your life … what you have found to be true from your very own personal experience. Or write about a book that changed your perspective on life, a person who you admire, festivals in your community, your most memorable moment, and/or your proudest achievement. If your essay is chosen to go on the air – read by you – you'll win a special prize!Send your essays to thesoundkitchen@rfi.frOr by postal mail, to:Susan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceI look forward to hearing from you soon!Here's Ashik Eqbal Tokon's essay:The Transformative Journey, Inspired by Pather Panchali As a child growing up in the bustling megacity of the 1980s, I was accustomed to the constant hum of trains, the clanging of trams, the honking of buses, and the rhythmic peddling of rickshaws. My world was a mosaic of concrete, electricity, radio broadcasts, and black-and-white television screens. It was a life saturated with modern conveniences and rapid movement, where nature seemed distant, relegated to small parks and occasional glimpses of the sky between towering buildings. However, this perception shifted dramatically when I encountered a short story extracted from the novel Pather Panchali by Bibhutibhushan Bandopadhyay. The tale of Apu and Durga's discovery of the train in their remote Bengali village captured my imagination with its vivid descriptions and emotional depth. The scene where they run through lush fields, their eyes widening in awe at the sight of the train, resonated deeply within me. This moment became etched in my mind, igniting a spark of curiosity and longing for a world beyond the urban sprawl.My First Journey to the Village Shortly after reading the story, I had the opportunity to visit my ancestral village, a place starkly different from my city life. The journey began with a train ride that mirrored Apu's wonder and excitement. As the train chugged through the countryside, I gazed out of the window, mesmerised by the passing landscapes. Rivers snaked through the green fields, and orchards of mangoes, lychees, and jackfruits painted the scenery with vibrant colours. It was as if I had stepped into Apu's world, experiencing the same unmeasurable happiness he felt. The bus journey that followed took me deeper into the heart of nature. The scent of fresh earth and blooming flowers filled the air. The sight of villagers working in the fields, children playing under the shade of trees, and the serene flow of rivers created a permanent visual in my mind. This experience was a revelation, a tactile encounter with the natural world that Apu had introduced me to.Discovering Pather Panchali in My Teenage Years As a teenager, I read the full novel Pather Panchali and felt an even stronger connection to Apu's journey. The book opened my eyes to the beauty of nature, the simplicity of rural life, and the profound emotions tied to family and survival. It made me realise that true happiness and fulfilment could be found in the simplest of experiences and the purest of surroundings. This realisation shaped my life's journey and passions. I developed a deep love for travel, seeking out places where I could immerse myself in nature's embrace. The novel's influence led me to explore diverse landscapes, from the golden deserts of Rajasthan, India, to the lush hills of Bhutan. I found joy in the contrasting environments—the tranquil charm of Thailand's beaches, the cultural richness of Bali, the waves of the Bay of Bengal, and the expansive horizons of the Indian Ocean, Arabian Sea, Gulf of Thailand, and Java Sea.Embracing My Home Country, Bangladesh One of the most profound impacts of Pather Panchali was how it deepened my appreciation for my own beautiful country, Bangladesh. After my teenage years, I have had the privilege to explore all 64 districts of Bangladesh, each with its unique natural beauty and cultural heritage. From the verdant hills of Sylhet to the serene beaches of Cox's Bazar, the majestic Sundarbans mangrove forest to the vibrant cultural tapestry of Dhaka, every corner of Bangladesh offered a new discovery and a deeper connection to my roots. The green landscapes, the winding rivers, and the warmth of the people in Bangladesh constantly reminded me of Apu's world. This profound connection to my homeland enriched my life and reinforced my love for travel and exploration. Bangladesh, with its rich history and diverse natural beauty, continues to be a source of inspiration and joy.Embracing Nature and the Love of Travel Pather Panchali taught me to appreciate the feather-light touch of nature, to find beauty and peace in its presence, even in the most unexpected places. Whether it was the arid sands of Rajasthan, where the desert winds whispered ancient tales, or the verdant hills of Jalpaiguri, where the air was thick with the scent of tea leaves, nature became my sanctuary. The novel instilled in me a sense of wonder and a desire to explore, to experience the world through the lens of its natural splendour. In Thailand and Bali, I found a different kind of charm, where the azure waters and golden sunsets painted the skies with hues of tranquility and adventure. Swimming in the waves of the Bay of Bengal and the Indian Ocean, I felt a connection to the vastness of the world, a reminder of Apu's endless curiosity and love for discovery. The icy expanse of Mongolia, though harsh, revealed the serene and stark beauty of a world wrapped in snow and silence, expanding my understanding of nature's extremes.Final WordThe transformative power of Pather Panchali by Bibhutibhushan Bandopadhyay lies in its ability to transport readers into a world where nature and simplicity hold profound meaning. For me, the novel was not just a story but a catalyst for a lifelong passion for travel and an enduring love for the natural world. It taught me to seek out the beauty in every corner of the earth, to cherish the moments of awe and wonder, and to find joy in the journey itself. This timeless tale of Apu's adventures has forever changed my perspective, making every travel experience a homage to the spirit of discovery and the beauty of nature, from the warm beaches of Bali to the freezing steppes of Mongolia, and the verdant beauty of Bangladesh, my beloved homeland.The music chosen by Ashik is “Janmo Amar Dhonno Holo Mago” by Azad Rahman, sung by Sabina Yeasmin.Be sure and tune in next week for an essay written by Bidhan Chandar Sanyal. Talk to you then!

Apu has experienced some terrible loss and hardships, but nothing like this. Another beautiful movie that somehow captures the human soul and spirit. Sign up for Patreon and listen to our new series MPU: The Sequel: Legacy and listen to TOP GUN

Today we dive into a wonderful series that captures the human experience and specifically the childhood experience in a fresh and still exciting way! Dive in as we talk about an indie production that became one of the more influential series ever made! Sign up for Patreon and listen to our new series MPU: The Sequel: Legacy and listen to TOP GUN

Jackie and Greg discuss Satyajit Ray's PATHER PANCHALI from 1955. Topics of discussion include Ray's mastery of the medium, Ravi Shankar's glistening score, whether the film romanticizes poverty or not, and why it's one of the best films ever made.#41 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#35 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSend us a Text Message.Support the Show.Support the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

On this episode of What a Picture, Bryan and Hannah dance in a monsoon before discussing Pather Panchali, the 1955 movie directed by Satyajit Ray that ranks #35 on Sight and Sound's 2022 Greatest Films of All Time Critics' Poll. Our guest on today's episode is Ankita Rathour, a scholar of postcolonial film. Ankita's website: https://sites.gatech.edu/ankitarathour/ What a Picture website: https://www.whatapicturepod.com/ Bryan's Bluesky: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://bsky.app/profile/bryanwhatapic.bsky.social⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Letterboxd: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://letterboxd.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryan's Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/bryan_whatapic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music is "Phaser" by Static in Verona.

The nerds kick off their Satyajit Ray Month with the first installment in the Apu Trilogy, Pather Panchali. Thank You ALL for Helping Support Us! Visit Our Website

Mike and Nick check in on Apu in the second entry of Satyajit Ray's The Apu Trilogy, Aparajito (1956). We move from the naturalistic world of a Bengal village to the city. Apu's wonder and curiosity grows and leads him down new paths and toward new adventures. How does the second entry of The Apu Trilogy compare to the second? How does Ray present the new world to a growing boy?

Mike and Nick celebrate their third season with a beloved and prestigious trilogy: Satyajit Ray's The Apu Trilogy. The first entry, Pather Panchali (1955) introduces Apu, the titular character as he makes his way through the beautiful poetry of real life's ups and downs. How does Ray introduce and maintain the identities of each character? How does Ray use the environment to build a palpable experience? These questions and more are discussed.

The #WatchTowerFilmPodcast boys are back with an interesting pick out of 1950s #IndianCinema as they deep dive into film legend #SatuajitRay ‘s “The Apu Trilogy” which includes the three critically acclaimed films “Pather Panchali”, “Aparajito”, and “Apur Sansar”. Join us as we highlight how this trilogy is both underrated yet considered a masterpiece amongst true romancers of film. Help us by SUBSCRIBING, LIKING, and SHARING! #WatchTowerFilmPodcast #FilmPodcast #Cinema #IndieFilm #Film #Movies #MoviePodcast

One of the classics of Indian literature that was made into an internationally acclaimed movie of the same name by Satyajit Ray. Listen to the tale of two siblings, Apu and Durga, in the tiny village of Nischindpur in Bengal in the early 1900s. My book recommendation for the week is also about a 11 year old child's journey to her grandparents' home in a village in Kerala. Do drop a rating for this podcast, if you like what you hear. You can send me messages on Instagram - @thegreedyreader My website - www.thegreedyreader.com YouTube - The Greedy Reader

We return to 2023 with us discussing the age old debate Rock, Scissors, Paper vs Vampire & Terrorists. Who wins it all? Also we begin our path into the work of Satyajit Ray with the…Read More

Satyajit Ray's first installment of the Apu Trilogy, reigns as one of the greatest depictions of humanity ever recorded on film.  But does it live up to all of the hype?  Yes.  It does.  What a stupid question. *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Toshiya Fujita's Lady Snowblood (1973).

“Punk rock died when the last kid said, ‘Punk's not dead… punk's not dead.'”  Or maybe it died when Los Angeles punk frontman Jeff Bailey had to duck over the border into Mexico after stealing $1,000 and a handful of quaaludes from a club owner's safe.  Directors Allison Anders, Dean Lent, and Kurt Voss question all this and more in this classic independent film tracing the struggles of the band members, hangers on, and wife and child who are left behind.  Good music too. *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Satyajit Ray's Pather Panchali (1955).

In the third episode of Season 8 (Coming-of-Ages) Kyle is joined by journalist Kerry Harwin and writer August Gummere to discuss the lyrical and poetic neo-realist inspired reflection of India's transition into modernity as it is seen and experienced through the joys and dangers of childhood in Satyajit Ray's first feature film Pather Panchali (1955).

A version of this essay was published by firstpost.com at https://www.firstpost.com/opinion/shadow-warrior-three-exemplars-of-indian-cinema-in-2022-rrr-the-kashmir-files-and-kantara-11940742.html2022 was a watershed year for Indian cinema and cinephiles. At long last, the formulaic Hindi/Urdu cinema that has dominated both mindshare and box office took a beating, for it appears to no longer appeal to the consuming public. It has long been accused of lack of originality; its anti-Indian slant, and especially its overt anti-Hindu stance, have now begun to annoy large numbers of viewers. They voted with their wallets, as per BookMyShow.The yeoman efforts by @GemsofBollywood to demonstrate bad faith on the part of the industry have had an impact, as can be seen from the number of expensive flops: Lal Singh Chaddha, Shamshera, Raksha Bandhan, Cirkus, Dobaara, Liger. They should change course, though given the current crop of agenda-ridden poseurs and nepo-kids, it's not clear they can.As a direct consequence of the arrival a few years ago of high-bandwidth fiber-to-the-home, many cinema viewers have also become accustomed to a wide range of offerings on OTT like Netflix and Amazon Prime Video. This has made them aware of cinema from around the world that frankly shows that Bollywood has always been inferior in content and form, except for the film music (at least in earlier days). I was at one time a cineaste, enjoying the 20th century works of Kurosawa, Ray, Eisenstein, the Italian and French masters, Bergman, and the Indian New Wave. It was easy to dismiss the cinematic quality of the Mumbai film industry; but it has always been influential, and has set the narrative about India both internally and in the developing world, as well as Russia and Japan. For a variety of reasons (including simple prejudice), the Mumbai film industry has not been able to make a mark on Western audiences, and RRR is the first Indian film to make waves in the US market. In a positive write-up about why RRR deserves an Oscar, perhaps for Best Picture (yes, not for Best International Feature), Douglas Laman suggests that Indian films have been unfairly ignored (h/t Hari G).Thank you for reading Shadow Warrior. This post is public so feel free to share it.The fact is that all three of the films that became visible successes in 2022 (along with other big box-office successes KGF 2, Ponniyin Selvan, Pushpa) have origins outside the formulaic Mumbai industry, and it may well be the beginning of a trend. The three are distinctive and different, and it is arguable that they are archetypes of three types or even three genres of cinema. Cinema as spectacleRRR is cinema as spectacle (harking back to the big Hollywood productions whose intent it was to awe); The Kashmir Files is realistic, almost documentary in tone; and Kantara, the most difficult to precisely pigeonhole, is impressionistic, a cultural phenomenon immersing you in a world that you must be an insider to fully appreciate. RRR is the easiest for audiences to appreciate, because it compels suspension of disbelief, and draws you into its make-believe world with its fantastic stunts and subtle theme of rebellion against authority and cruel white colonialism (which appeals to the newly woke sentiment of film fans especially in the US). It is cinema as entertainment; the dances and the swashbuckling take center stage with the buddy story while the freedom struggle is sort of in the background.In a sense this kind of cinema is the lineal descendant of the story-tellers and bards of old. In India we had the katha-kalakshepam artists and traveling theater troupes telling/performing stories from the Puranas. Similarly, in many places there were shadow-puppet shows, again with heroic stories from the epics (like the wayang kulit of Java). Children would sit breathless often in dim lamplight, entranced by tales of brave warriors and fair maidens. SS Rajamouli, the director of RRR, is in that tradition: he tells tall tales, and he does it well. In fact, his two Baahubali films were masterpieces of the art, and they were among the very best Indian films in decades. Gorgeous sets, glorious set-piece battles, beautiful princesses, treachery, stalwart warriors, noble companions, fearsome villains – the works. And they were entirely believable because they were epics set in the (distant) mythical past, fables. Hollywood used to specialize in these too: remember Ben Hur and the like? Or even Kurosawa's Ran, Seven Samurai and Kagemusha. Therein lies my small gripe about RRR: since it is set in the recent past, I found it hard to engage with the superhuman stunts and the dance sequences, which were quite appropriate in the Baahubali films. Okay, that's just me.This also probably means that Rajamouli will be snatched away by Hollywood's rich ecosystem, as has happened to talented Hong Kong and Australian directors, who moved on to bigger and better things and global fame after relocating. That would be good for him, but bad for Indian film. Realist cinema, including cinema verite I am a fan of the understated and realistic school, having always preferred the low-key off-Bollywood film, such as Charulata, Pather Panchali, Bhuvan Shome, Chomana Dudi and in particular in Malayalam Uttarayanam, Thampu, Elippathayam. There is a subset of this realism, the class of historical film that does not veer into propaganda, for instance the Soviet masterpiece Battleship Potemkin or the Jewish-holocaust epic Schindler's List.Vivek Ranjan Agnihotri, who created The Kashmir Files, is known for his powerful and hard-hitting contemporary portrayals of Indian culture. His Buddha in a Traffic Jam was an indictment of the ‘Urban Naxal' phenomenon that seems to have infiltrated academia and media, and which, one could cogently argue, is a grave and existential threat to the nation. All of us who lived through the dark days of the 1990s and remember the newspaper headlines about Jammu and Kashmir then knew terrible things happened there to the minority population: a violent, religion-motivated ethnic cleansing. But much of this was swept under the carpet in the interest of some Nehruvian-Stalinist secularism. Unlike for other peoples who were targeted and exterminated, there has been no truth and reconciliation for Kashmiri Hindus.The Kashmir Files is almost entirely based on actual, well-documented atrocities against a defenseless civilian population, slightly fictionalized, and it is a damning indictment of the fecklessness of the Indian State, and in particular of the mindset that allowed the murders, rapes, and ethnic cleansing of Indian citizens by foreign-funded terrorists. [Note the Jammu attacks on Jan 2, 2023 as well: Hindus targeted and shot, and IEDs left in the house].That an Israeli leftist film-maker dared to deride TKF as ‘vulgar propaganda' as the head of the jury of the government-sponsored International Film Festival of India 2022 shows that the pusillanimity of the Indian State continues to this day. (I was also reminded of the powerful Malayalam Piravi, about one of the young men who ‘disappeared' during the Emergency.) But nothing takes away from the reality of the Kashmir holocaust; TKF is as chilling, and as accurate, a portrait as the Killing Fields was of Pol Pot's Cambodian holocaust of the 1970s. Thanks for reading Shadow Warrior! Subscribe for free to receive new posts and support my work.Cultural and spiritual phenomenonKantara is a difficult-to-define film, because it doesn't fit into a neat category. I wish I could say it was like Kurasawa's works, for example Rashomon, which immerse you into medieval Japan without apology or explanation. But Kurosawa was deeply influenced not only by traditional Japanese literature and theater, but also by Western film and theater traditions, and therefore his work is pretty much immediately understandable to a Western audience. Not so with Kantara. It is hard enough for many Indians to relate to the film; I imagine it would be well-nigh impossible for those from a non-Hindu frame of mind to do so. Even among Hindus, quite a few were baffled and could not relate to it. I was induced to see it by a wonderful review by the photographer Gowri Subramanya, and my expectations were sky-high.I could immediately understand and relate to the idea that there are spirits all around, a typically Hindu view. Thinking about it later, I remembered O V Vijayan's Little Ones, about benign family spirits that appeared as little dancing points of light, always there in times of trouble. But many Hindus might find it hard to relate to.I too had a bit of a hard time relating to the protagonist Siva's (played by director Rishab Shetty himself) wayward life: all the drinking and boar-hunting and the ‘bro' life irritated me because I wanted him to be the bhoota kola spirit dancer that he avoided becoming. (Spoiler alert) But in the end, he cannot evade his destiny, and in a glorious apotheosis he does become the fearsome Guliga. I later realized he had to go through his Hero's Journey (as Nambi did in Rocketry): that was what the story was all about. Maybe I was primed to appreciate Kantara, as Malabar's theyyams are almost identical to the bhoota kola in neighboring Tulunadu. I have watched, at dusk, the awe-inspiring appearance of the thee-poti, or the Devi with fire; and the Gulikan, the fierce guardian deity. They appeal to me, for I believe in this land and its ancient autochthonic deities. And here's an interesting dance interpretation of varaharoopam by two Kerala women. Varaha Roopam|Dance choreography |Pooja and Mariya |KantaraBut a lot of Hindus have been gaslighted and taught in school to disdain the gods of their ancestors; they have picked up half-baked Western, Abrahamic prejudices, which in the final analysis are based on blind faith that is doctrinally defined to be unquestionable. They are apologetic, and may try to ‘explain' the Hindu world-view to those who are programmed to not comprehend. If you will pardon my introducing a personal note, this is very much like what happened when the late Varsha Bhosle and I started writing unapologetic Hindu nationalist columns on rediff.com around 1995. They resonated with many; but others, nurtured on standard leftie fare, fulminated against us as though we violated their deeply held beliefs. Well, actually, yes. I have seen innumerable films that either demonize Hinduism (almost the entire oeuvre of Urduwood) or try to present a sanitized face for Western consumption. Kantara is the first film I have seen that presents Hindu beliefs as itihasa (iti-hasa, thus it is and was). This is the way things are. Deal with it. The fact that these three films of three different genres were successful – and the intensely patriotic Rocketry: The Nambi Effect was a hit too – is a tremendous boost for India. It's time to move away from self-flagellating mediocrity to proudly present Indian cinema as part of a cultural renaissance, as Japan, Hong Kong and Korea have done in the past. 1750 words, 1 Jan 2023 This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit rajeevsrinivasan.substack.com

Pather Panchali Movie Review - Ray Taylor Show (Satyajit Ray, Bengali, 1950s)Subscribe: InspiredDisorder.com/rts Binge Ad Free: InspiredDisorder.com/plus Show topic: In this episode of the Ray Taylor Show, I review the classic Indian film Pather Panchali, directed by the renowned Satyajit Ray and set in rural Bengali in the 1950s. Join me as I discuss the plot, characters, and overall impact of this influential movie, which tells the coming of age story of a family struggling with poverty. Be sure to subscribe to my channel for more movie reviews and entertainment news.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/linksGenres: Drama - Indian

Pather Panchali Movie Review - Ray Taylor Show (Satyajit Ray, Bengali, 1950s)Subscribe: InspiredDisorder.com/rts Binge Ad Free: InspiredDisorder.com/plus Show topic: In this episode of the Ray Taylor Show, I review the classic Indian film Pather Panchali, directed by the renowned Satyajit Ray and set in rural Bengali in the 1950s. Join me as I discuss the plot, characters, and overall impact of this influential movie, which tells the coming of age story of a family struggling with poverty. Be sure to subscribe to my channel for more movie reviews and entertainment news.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/linksGenres: Drama - Indian

This week begins a three episode journey into International Films. We start with Indian filmmaker Satyajit Ray and his directorial debut “Pather Panchali”. Adam and Ian discuss the lengths Ray went to get this film off of the ground, how gorgeous this film would have been in color, and the way HBO Max is killing the streaming game. It's a slow, slice-of-life film that has ties to the same issues we face today, but do the guys at 1001 by 1 think it should be in the book? You'll have to tune in to find out. Also, this week Ian recommends “Dark Waters” (available on Showtime) and Adam recommends “House of Games” (available for free on Tubi). 0:00 – Intros & “Southland Tales” 10:41 – “The Happytime Murders” 14:33 – “Dark Waters' 18:31 – “House of Games” 23:33 – “Pather Panchali” Stats/History (28:14 – Drop in Audio Quality) 29:18 – “Pather Panchali” Plot/Thoughts 1:10:55 – Closing Thoughts

Phil Cannon from the Who's He? podcast joins Tyler this week to discuss a film unfairly overlooked by the Academy - Spike Milligan's The Great McGonagall from 1974. Written by Spike and Joe McGrath (Casino Royale, Digby the Biggest Dog in the World, Not Only But Also) and starring Milligan as the titular poet & tragedian, the film also featured Peter Sellers as Queen Victoria (kneeling on a skateboard), John Bluthal, Victor Spinetti and Julia Foster. Considered by many to be the worst poet who ever drew breath, William Topaz McGonagall had long been a favourite of Sellers and Milligan and indeed had been woven into the fabric of The Goon Show, turning up as a character in occasional episodes (notably The Tay Bridge in 1959). This film takes constant liberties with the truth and is about as far away from being a faithful account of the poet's life as any biopic could credibly claim to be. That said, several of his poems were used and a handful of scenes were at least partly based on actual events. The film was shot over three weeks entirely at Wilton's Music Hall and was not a success, receiving only limited release. It did garner a few fairly favourable notices (Richard Eder, writing in the New York Times, described it as a "radiant failure") but most reviewers were chilly towards it. Time Out thundered: "The humour is forced and the social/political comment embarrassingly exposed... it looks like some tiresome theatrical junket brought out in the wake of the departing Lord Chamberlain, crammed full of previously vetoed references to the Royal Family!" Calm down Time Out, it's a low-budget British comedy, it's not trying to be Pather Panchali. Despite this (or perhaps because of it!) Tyler and Phil had an enjoyable time chatting about it and would welcome listeners to check out the film if they haven't already seen it: available for a few quid on DVD and for free on YouTube (as of time of writing). Who's He?: http://www.whos-he-podcast.co.uk/

Two dear friends and Film Festival colleagues attempt to bridge the gaps of their long-distance relationship AND their own film educations through a bi-weekly screening and discussion project of the gap films that have eluded their cinematic discovery.On this week's call, Scott and Jack discuss the groundbreaking film debut of the great Indian auteur Satyajit Ray- PATHER PANCHALI

It's Lora's 4th pick: Pather Panchali, the 1955 film directed by Satyajit Ray. Pather Panchali, which translates as “Song of the Little Road,” is based on the 1929 novel of the same name, which is the semi-autobiographical work of author Bibhutibhushan Bandyopadhyay. Satyajit Ray was a graphic designer working on illustrations for a 1944 abridged edition of the book when it was suggested to him that the stoy's depiction of rural life in the Bengali region of India would make for a good film. A few years later, as Ray became interested in making a movie, he decided to take that suggestion. After a start-stop-start production beset by funding issues, support from the regional government, as well as MoMA and filmmakers like Jean Renoir and John Huston helped to eventually push the production over the finish line. Its success was eventually sure enough that there were two sequels that, together with this film, form what's known as the “Apu trilogy,” which when taken together follow Apu's life through adolescence and into adulthood. Pather Panchali won Best Feature Film and Best Bengali Feature Film at India's 3rd National Film Awards. It was also honored at Cannes with the aforementioned award for Best Human Document and was nominated for or won several other critics, festival, or industry awards around the world. As for our purposes, the film has appeared in the top 10 of Sight & Sound's critics polls twice, once as a runner up in 1962 and then again at number 6 in 1992. In the 2012 polling, it was ranked #42 by critics and #48 by directors. Produced by Stereoactive Media

In the history of Indian film, there's a dividing line between approximately the first forty years of the movie industry, and the release, in 1955, of the first film by Bengali writer and director Satyajit Ray. It's called Pather Panchali, which roughly translated into English means Song of the Road. Before Pather Panchali, Indian films adhered to a formula of simplistic melodramas or comedies with songs and dancing—in fact, this is the tradition that still dominates today, albeit in a more sophisticated way, and that has come to be nicknamed Bollywood. Ray worked for ten years as a layout editor at a Calcutta ad agency, but his secret love was cinema. He read all the books and magazines he could find about filmmaking. In 1949, the great French director Jean Renoir arrived in India to make his movie The River, and Ray worked part time for him scouting locations. Renoir encouraged him to pursue his dreams. The following year, Ray put his savings together, got a small loan, borrowed money from his family, and began shooting. Most of his crew had no experience. His cinematographer had never shot a film before. Pather Panchali was adapted from a well-known autobiographical novel, written in 1928 by the Bengali author Bibhutibhushan Bandyopadhyay. It's about a poor family in rural Bengal around 1910. The family consists of the parents—the father is often away trying desperately to make a living, the mother frets and scolds and feels lonely—a daughter and son, and an elderly aunt. The story is centered on the 6-year-old son, Apu, and his innocent reactions to what goes on around him in his family and village. Watching this film is like peeking into an actual place and time. Little details, like the dragonflies playing on the water, create a sense of place while evoking feelings about events that are happening in the lives of the family. The small incidents that go to make up Apu's life are soul-stirring because of the picture's basic honesty about people. These characters are not idealized. The mother nags, her desire for security getting the better of her compassion. The father is a dreamer whose irresponsibility puts the family at risk. The sister, Durga, a few years older than Apu, steals things. Yet they are also decent, loving people. The mother in particular (in an amazing performance by Karuna Bannerjee, an amateur, as was most of the cast) gains immeasurably in stature as the film progresses. And the figure of the old auntie is very moving—childish and sometimes petulant, she also shows a gentleness and tolerance much needed by the daughter. When Ray couldn’t afford any more film, he used bits of the discarded film ends that were left around at the Calcutta studios. But finally, after a year and a half, he ran out of money and filming stopped. After scrambling for over a year, he managed to receive more funding. Working on a deadline, his friend Ravi Shankar composed the film's musical score in one day. Then it was released—to immediate acclaim and sold-out theaters. It was shown at Cannes and eventually given international distribution. Pather Panchali was the first Indian film to receive worldwide attention. As it turned out, this was the first in a trilogy. The other two films: Aparajito  and Apur Sansar  are excellent as well. They follow Apu into adolescence and adulthood, turning the Apu trilogy into a national cinematic epic with Apu representing the soul of India.

It's Jeremiah's 4th pick: The Rules of the Game, the 1939 film directed by Jean Renoir. ‘The Rules of the Game' was the most expensive film ever made in France at the time of its production and came on the heels of a series of successful films that had made Renoir one of the top French directors. After initial preview screenings that began in June of 1939 and a premier in July that met with low box-office and mixed reviews, a series of edits eventually whittled the film down from its 113 minute runtime to 85 minute; many of the edits excised Renoir's own performance, resulting in a much less complex and integral character. By October, the film was banned in France for being "depressing, morbid, immoral [and] having an undesirable influence over the young." A successful 1956 attempt at restoration led to the discovery of negatives and other prints and audio for the film that had been thought lost during World War II. Eventually, with advice from Renoir, a 106 minute cut was assembled that largely restored what had been cut after the film's post-release failure. This restoration was screened for Renoir in 1959 and reportedly left the director in tears. Director Satyajit Ray – whose film, ‘Pather Panchali,' we'll be watching for an upcoming episode – said of The Rules of the Game: it is “a film that doesn't wear its innovations on its sleeve ... Humanist? Classical? Avant-Garde? Contemporary? I defy anyone to give it a label. This is the kind of innovation that appeals to me." For our purposes, this is the only film that's been in the top 10 of Sight & Sound's critics poll every single time since it began in 1952, when it debuted at number 10 (even before it's restoration). It then fluctuated between number 2 and number 3 from 1962 to 2002 and was at number 4 in 2012. Additionally, it was on the directors poll in 2002, at number 9. In the 2012 polling, 100 critics had the film on their list – and 17 directors, including Olivier Assayas, Lawrence Kasdan, Steve McQueen, and Paul Schrader. Produced by Stereoactive Media --- Send in a voice message: https://anchor.fm/stereoactivemovieclub/message

Tariq Ali picks Pather Panchali and New Generation Thinker Sarah Jilani describes Jalsaghar or The Music Room. Rana Mitter presents this programme which looks at what marked out the directing of Satyajit Ray. The BFI has a season of his films screening across July and August and is re-releasing The Big City. Rana's other guests are the programme of the BFI season and herself a film-maker, Sangeeta Datta, and Professor Chandak Sengoopta from Birkbeck, University of London. Sarah Jilani researches postcolonial film and literature at the University of Cambridge. She is a 2021 New Generation Thinker on the scheme run by BBC Radio 3 and the Arts and Humanities Research Council to select ten academics each year who use their research to make radio programmes. Professor Chandook Sengoopta is writing on the historical, cultural and ideological contexts that shaped the work and impact of the film-maker, writer, designer and composer Satyajit Ray. Sangeeta Datta is director of Baithak UK http://www.baithak.info/director-sangeeta-datta. You can find details of the season she has put together at BFI.org.uk Tariq Ali has written more than 2 dozen books on world history, culture and politics https://www.versobooks.com/authors/63-tariq-ali You can find a collection of Radio 3 programmes exploring film on the Free Thinking programme website https://www.bbc.co.uk/programmes/articles/FJbG166KXBn9xzLKPfrwpc/all-about-film-on-radio-3 Producer: Jayne Egerton

Tri, Tri, Trilogia! Terceiro filme deste ciclo, onde escolhemos uma primeira parte de uma tríade. E claro que foi o David a ter que equilibrar o jogo com o filme que muda a história do cinema indiano, Pather Panchali (1955), primeiro filme da Trilogia de Apu, de autoria de Satyajit Ray. É um episódio onde conseguimos provar (mais uma vez) a nossa (quase) total ignorância sobre esse mesmo cinema indiano, mas onde encontramos concordância na beleza realista deste retrato rural, específico mas universal e intemporal.

Episode one hundred and forty-eight of A History of Rock Music in Five Hundred Songs looks at “Light My Fire" by the Doors, the history of cool jazz, and Maharishi Mahesh Yogi. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "My Friend Jack" by the Smoke. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, I've put together a Mixcloud mix containing all the music excerpted in this episode and the shorter spoken-word tracks. Information on Dick Bock, World Pacific, and Ravi Shankar came from Indian Sun: The Life and Music of Ravi Shankar by Oliver Craske. Ray Manzarek, John Densmore, and Robby Krieger have all released autobiographies. Densmore's is out of print, but I referred to Manzarek's and Krieger's here. Of the two Krieger's is vastly more reliable. I also used Mick Wall's book on the Doors and Stephen Davis' biography of Jim Morrison. Information about Elektra Records came from Follow the Music by Jac Holzman and Gavan Daws, which is available as a free PDF download on Elektra's website. Biographical information on Maharishi Mahesh Yogi comes from this book, written by one of his followers. The Doors' complete studio albums can be bought as MP3s for £14. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript There are two big problems that arise for anyone trying to get an accurate picture of history, and which have certainly arisen for me during the course of this podcast -- things which make sources unreliable enough that you feel you have to caveat everything you say on a subject. One of those is hagiography, and the converse desire to tear heroes down. No matter what one wants to say on, say, the subjects of Jesus or Mohammed or Joseph Smith, the only sources we have for their lives are written either by people who want to present them as unblemished paragons of virtue, or by people who want to destroy that portrayal -- we know that any source is written by someone with a bias, and it might be a bias we agree with, but it's still a bias. The other, related, problem, is deliberate disinformation. This comes up especially for people dealing with military history -- during conflicts, governments obviously don't want their opponents to know when their attacks have caused damage, or to know what their own plans are, and after a war has concluded the belligerent parties want to cover up their own mistakes and war crimes. We're sadly seeing that at the moment in the situation in Ukraine -- depending on one's media diet, one could get radically different ideas of what is actually going on in that terrible conflict. But it happens all the time, in all wars, and on all sides. Take the Vietnam War. While the US was involved on the side of the South Vietnamese government from the start of that conflict, it was in a very minor way, mostly just providing supplies and training. Most historians look at the real start of US involvement in that war as having been in August 1964. President Johnson had been wanting, since assuming the Presidency in November 1963 after the death of John F Kennedy, to get further into the war, but had needed an excuse to do so. The Gulf of Tonkin Incident provided him with that excuse. On August the second, a fleet of US warships entered into what the North Vietnamese considered their territorial waters -- they used a different distance from shore to mark their territorial waters than most other countries used, and one which wasn't generally accepted, but which they considered important. Because of this, some North Vietnamese ships started following the American ones. The American ships, who thought they weren't doing anything wrong, set off what they considered to be warning shots, and the North Vietnamese ships fired back, which to the American ships was considered them attacking. Some fire was exchanged, but not much happened. Two days later, the American ships believed they were getting attacked again, and spent several hours firing at what they believed were North Vietnamese submarines. It was later revealed that this was just the American sonar systems playing up, and that they were almost certainly firing at nothing at all, and some even suspected that at the time -- President Johnson apparently told other people in confidence that in his opinion they'd been firing at stray dolphins. But that second "attack", however flimsy the evidence, was enough that Johnson could tell Congress and the nation that an American fleet had been attacked by the North Vietnamese, and use that as justification to get Congress to authorise him sending huge numbers of troops to Vietnam, and getting America thoroughly embroiled in a war that would cost innumerable lives and billions of dollars for what turned out to be no benefit at all to anyone. The commander of the US fleet involved in the Gulf of Tonkin operation was then-Captain, later Rear Admiral, Steve Morrison: [Excerpt: The Doors, "The End"] We've talked a bit in this podcast previously about the development of jazz in the forties, fifties, and early sixties -- there was a lot of back and forth influence in those days between jazz, blues, R&B, country, and rock and roll, far more than one might imagine looking at the popular histories of these genres, and so we've looked at swing, bebop, and modal jazz before now. But one style of music we haven't touched on is the type that was arguably the most popular and influential style of jazz in the fifties, even though we've mentioned several of the people involved in it. We've never yet had a proper look at Cool Jazz. Cool Jazz, as its name suggests, is a style of music that was more laid back than the more frenetic bebop or hard-edged modal jazz. It was a style that sounded sophisticated, that sounded relaxed, that prized melody and melodic invention over super-fast technical wizardry, and that produced much of what we now think of when we think of "jazz" as a popular style of music. The records of Dave Brubeck, for example, arguably the most popular fifties jazz musician, are very much in the "cool jazz" mode: [Excerpt: The Dave Brubeck Quartet, "Take Five"] And we have mentioned on several occasions the Modern Jazz Quartet, who were cited as influences by everyone from Ray Charles to the Kinks to the Modern Folk Quartet: [Excerpt: The Modern Jazz Quartet, "Regret?"] We have also occasionally mentioned people like Mose Allison, who occasionally worked in the Cool Jazz mode. But we've never really looked at it as a unified thing. Cool Jazz, like several of the other developments in jazz we've looked at, owes its existence to the work of the trumpeter Miles Davis, who was one of the early greats of bop and who later pioneered modal jazz. In 1948, in between his bop and modal periods, Davis put together a short-lived nine-piece group, the Miles Davis Nonette, who performed together for a couple of weeks in late 1948, and who recorded three sessions in 1949 and 1950, but who otherwise didn't perform much. Each of those sessions had a slightly different lineup, but key people involved in the recordings were Davis himself, arranger Gil Evans, piano player John Lewis, who would later go on to become the leader of the Modern Jazz Quartet, and baritone sax player Gerry Mulligan. Mulligan and Evans, and the group's alto player Lee Konitz, had all been working for the big band Claude Thornhill and his Orchestra, a band which along with the conventional swing instruments also had a French horn player and a tuba player, and which had recorded soft, mellow, relaxing music: [Excerpt: Claude Thornhill and his Orchestra, "To Each His Own"] The Davis Nonette also included French horn and tuba, and was explicitly modelled on Thornhill's style, but in a stripped-down version. They used the style of playing that Thornhill preferred, with no vibrato, and with his emphasis on unison playing, with different instruments doubling each other playing the melody, rather than call-and response riffing: [Excerpt: The Miles Davis Nonette, "Venus De Milo"] Those recordings were released as singles in 1949 and 1950, and were later reissued in 1957 as an album titled "Birth of the Cool", by which point Cool Jazz had become an established style, though Davis himself had long since moved on in other musical directions. After the Birth of the Cool sessions, Gerry Mulligan had recorded an album as a bandleader himself, and then had moved to the West Coast, where he'd started writing arrangements for Stan Kenton, one of the more progressive big band leaders of the period: [Excerpt: Stan Kenton, "Young Blood"] While working for Kenton, Mulligan had started playing dates at a club called the Haig, where the headliner was the vibraphone player Red Norvo. While Norvo had started out as a big-band musician, playing with people like Benny Goodman, he had recently started working in a trio, with just a guitarist, initially Tal Farlowe, and bass player, initially Charles Mingus: [Excerpt: Red Norvo, "This Can't Be Love"] By 1952 Mingus had left Norvo's group, but they were still using the trio format, and that meant there was no piano at the venue, which meant that Mulligan had to form a band that didn't rely on the chordal structures that a piano would provide -- the idea of a group with a rhythm section that *didn't* have a piano was quite an innovation in jazz at this time, and freeing themselves from that standard instrument ended up opening up extra possibilities. His group consisted of himself on saxophone, Chet Baker on trumpet, Bob Whitlock on bass and Chico Hamilton on drums. They made music in much the same loose, casual, style as the recordings Mulligan had made with Davis, but in a much smaller group with the emphasis being on the interplay between Mulligan and Baker. And this group were the first group to record on a new label, Pacific Jazz, founded by Dick Bock. Bock had served in the Navy during World War II, and had come back from the South Pacific with two tastes -- a taste for hashish, and for music that was outside the conventional American pop mould. Bock *loved* the Mulligan Quartet, and in partnership with his friend Roy Harte, a notable jazz drummer, he raised three hundred and fifty dollars to record the first album by Mulligan's new group: [Excerpt: Gerry Mulligan Quartet, "Aren't You Glad You're You?"] Pacific Jazz, the label Bock and Harte founded, soon became *the* dominant label for Cool Jazz, which also became known as the West Coast Sound.  The early releases on the label were almost entirely by the Mulligan Quartet, released either under Mulligan's name, as by Chet Baker, or as "Lee Konitz and the Gerry Mulligan Quartet" when Mulligan's old bandmate Konitz joined them. These records became big hits, at least in the world of jazz. But both Mulligan and Baker were heroin addicts, and in 1953 Mulligan got arrested and spent six months in prison. And while he was there, Chet Baker made some recordings in his own right and became a bona fide star. Not only was Baker a great jazz trumpet player, he was also very good looking, and it turned out he could sing too. The Mulligan group had made the song "My Funny Valentine" one of the highlights of its live shows, with Baker taking a trumpet solo: [Excerpt: Gerry Mulligan Quartet, "My Funny Valentine"] But when Baker recorded a vocal version, for his album Chet Baker Sings, it made Baker famous: [Excerpt: Chet Baker, "My Funny Valentine"] When Mulligan got out of prison, he wanted to rehire Baker, but Baker was now topping the popularity polls in all the jazz magazines, and was the biggest breakout jazz star of the early fifties. But Mulligan formed a new group, and this just meant that Pacific Jazz had *two* of the biggest acts in jazz on its books now, rather than just one. But while Bock loved jazz, he was also fascinated by other kinds of music, and while he was in New York at the beginning of 1956 he was invited by his friend George Avakian, a producer who had worked with Miles Davis, Louis Armstrong, and others, to come and see a performance by an Indian musician he was working with. Avakian was just about to produce Ravi Shankar's first American album, The Sounds of India, for Columbia Records. But Columbia didn't think that there was much of a market for Shankar's music -- they were putting it out as a speciality release rather than something that would appeal to the general public -- and so they were happy for Bock to sign Shankar to his own label. Bock renamed the company World Pacific, to signify that it was now going to be putting out music from all over the world, not just jazz, though he kept the Pacific Jazz label for its jazz releases, and he produced Shankar's next album,  India's Master Musician: [Excerpt: Ravi Shankar, "Raga Charu Keshi"] Most of Shankar's recordings for the next decade would be produced by Bock, and Bock would also try to find ways to combine Shankar's music with jazz, though Shankar tried to keep a distinction between the two. But for example on Shankar's next album for World Pacific, Improvisations and Theme from Pather Panchali, he was joined by a group of West Coast jazz musicians including Bud Shank (who we'll hear about again in a future episode) on flute: [Excerpt: Ravi Shankar, "Improvisation on the Theme From Pather Panchali"] But World Pacific weren't just putting out music. They also put out spoken-word records. Some of those were things that would appeal to their jazz audience, like the comedy of Lord Buckley: [Excerpt: Lord Buckley, "Willy the Shake"] But they also put out spoken-word albums that appealed to Bock's interest in spirituality and philosophy, like an album by Gerald Heard. Heard had previously written the liner notes for Chet Baker Sings!, but as well as being a jazz fan Heard was very connected in the world of the arts -- he was a very close friend with Aldous Huxley -- and was also interested in various forms of non-Western spirituality. He practiced yoga, and was also fascinated by Buddhism, Vedanta, and Taoism: [Excerpt: Gerald Heard, "Paraphrased from the Tao te Ching of Lao Tzu"] We've come across Heard before, in passing, in the episode on "Tomorrow Never Knows", when Ralph Mentzner said of his experiments with Timothy Leary and Ram Dass "At the suggestion of Aldous Huxley and Gerald Heard we began using the Bardo Thödol ( Tibetan Book of the Dead) as a guide to psychedelic sessions" -- Heard was friends with both Huxley and Humphrey Osmond, and in fact had been invited by them to take part in the mescaline trip that Huxley wrote about in his book The Doors of Perception, the book that popularised psychedelic drug use, though Heard was unable to attend at that time. Heard was a huge influence on the early psychedelic movement -- though he always advised Leary and his associates not to be so public with their advocacy, and just to keep it to a small enlightened circle rather than risk the wrath of the establishment -- and he's cited by almost everyone in Leary's circle as having been the person who, more than anything else, inspired them to investigate both psychedelic drugs and mysticism. He's the person who connected Bill W. of Alcoholics Anonymous with Osmond and got him advocating LSD use. It was Heard's books that made Huston Smith, the great scholar of comparative religions and associate of Leary, interested in mysticism and religions outside his own Christianity, and Heard was one of the people who gave Leary advice during his early experiments. So it's not surprising that Bock also became interested in Leary's ideas before they became mainstream. Indeed, in 1964 he got Shankar to do the music for a short film based on The Psychedelic Experience, which Shankar did as a favour for his friend even though Shankar didn't approve of drug use. The film won an award in 1965, but quickly disappeared from circulation as its ideas were too controversial: [Excerpt: The Psychedelic Experience (film)] And Heard introduced Bock to other ideas around philosophy and non-Western religions. In particular, Bock became an advocate for a little-known Hindu mystic who had visited the US in 1959 teaching a new style of meditation which he called Transcendental Meditation. A lot is unclear about the early life of Maharishi Mahesh Yogi, even his birth name -- both "Maharishi" and "Yogi" are honorifics rather than names as such, though he later took on both as part of his official name, and in this and future episodes I'll refer to him as "the Maharishi". What we do know is that he was born in India, and had attained a degree in physics before going off to study with Swami Brahmananda Saraswati, a teacher of the Advaita Vedanta school of Hinduism. Now, I am not a Hindu, and only have a passing knowledge of Hindu theology and traditions, and from what I can gather getting a proper understanding requires a level of cultural understanding I don't have, and in particular a knowledge of the Sanskrit language, so my deepest apologies for any mangling I do of these beliefs in trying to talk about them as they pertain to mid-sixties psychedelic rock. I hope my ignorance is forgivable, and seen as what it is rather than malice. But the teachings of this school as I understand them seem to centre around an idea of non-separation -- that God is in all things, and is all things, and that there is no separation between different things, and that you merely have to gain a deep realisation of this. The Maharishi later encapsulated this in the phrase "I am that, thou art that, all this is that", which much later the Beach Boys, several of whom were followers of the Maharishi, would turn into a song: [Excerpt: The Beach Boys, "All This is That"] The other phrase they're singing there, "Jai Guru Dev" is also a phrase from the Maharishi, and refers to his teacher Brahmananda Saraswati -- it means "all hail the divine teacher" or "glory to the heavenly one", and "guru dev" or "guru deva" was the name the Maharishi would use for Saraswati after his death, as the Maharishi believed that Saraswati was an actual incarnation of God. It's that phrase that John Lennon is singing in "Across the Universe" as well, another song later inspired by the Maharishi's teachings: [Excerpt: The Beatles, "Across the Universe"] The Maharishi became, by his own account, Saraswati's closest disciple, advisor, and right-hand man, and was privy to his innermost thoughts. However, on Saraswati's death the leadership of the monastery he led became deeply contested, with two different rivals to the position, and the Maharishi was neither -- the rules of the monastery said that only people born into the Brahmin caste could reach the highest positions in the monastery's structure, and the Maharishi was not a Brahmin. So instead of remaining in the monastery, the Maharishi went out into the world to teach a new form of meditation which he claimed he had learned from Guru Dev, a technique which became known as transcendental meditation. The Maharishi would, for the rest of his life, always claim that the system he taught was Guru Dev's teaching for the world, not his own, though the other people who had been at the monastery with him said different things about what Saraswati had taught -- but of course it's perfectly possible for a spiritual leader to have had multiple ideas and given different people different tasks. The crucial thing about the Maharishi's teaching, the way it differed from everything else in the history of Hindu monasticism (as best I understand this) is that all previous teachers of meditation had taught that to get the benefit of the techniques one had to be a renunciate -- you should go off and become a monk and give up all worldly pleasures and devote your life to prayer and meditation. Traditionally, Hinduism has taught that there are four stages of life -- the student, the householder or married person with a family, the retired person, and the Sanyasi, or renunciate, but that you could skip straight from being a student to being a Sanyasi and spend your life as a monk. The Maharishi, though, said: "Obviously enough there are two ways of life: the way of the Sanyasi and the way of life of a householder. One is quite opposed to the other. A Sanyasi renounces everything of the world, whereas a householder needs and accumulates everything. The one realises, through renunciation and detachment, while the other goes through all attachments and accumulation of all that is needed for physical life." What the Maharishi taught was that there are some people who achieve the greatest state of happiness by giving up all the pleasures of the senses, eating the plainest possible food, having no sexual, familial, or romantic connections with anyone else, and having no possessions, while there are other people who achieve the greatest state of happiness by being really rich and having a lot of nice stuff and loads of friends and generally enjoying the pleasures of the flesh -- and that just as there are types of meditation that can help the first group reach enlightenment, there are also types of meditation that will fit into the latter kind of lifestyle, and will help those people reach oneness with God but without having to give up their cars and houses and money. And indeed, he taught that by following his teachings you could get *more* of those worldly pleasures. All you had to do, according to his teaching, was to sit still for fifteen to twenty minutes, twice a day, and concentrate on a single Sanskrit word or phrase, a mantra, which you would be given after going through a short course of teaching. There was nothing else to it, and you would eventually reach the same levels of enlightenment as the ascetics who spent seventy years living in a cave and eating only rice -- and you'd end up richer, too. The appeal of this particular school is, of course, immediately apparent, and Bock became a big advocate of the Maharishi, and put out three albums of his lectures: [Excerpt: Maharishi Mahesh Yogi, "Deep Meditation"] Bock even met his second wife at one of the Maharishi's lectures, in 1961. In the early sixties, World Pacific got bought up by Liberty Records, the label for which Jan and Dean and others recorded, but Bock remained in charge of the label, and expanded it, adding another subsidiary, Aura Records, to put out rock and roll singles. Aura was much less successful than the other World Pacific labels. The first record the label put out was a girl-group record, "Shooby Dooby", by the Lewis Sisters, two jazz-singing white schoolteachers from Michigan who would later go on to have a brief career at Motown: [Excerpt: The Lewis Sisters, "Shooby Dooby"] The most successful act that Aura ever had was Sonny Knight, an R&B singer who had had a top twenty hit in 1956 with "Confidential", a song he'd recorded on Specialty Records with Bumps Blackwell, and which had been written by Dorinda Morgan: [Excerpt: Sonny Knight, "Confidential"] But Knight's biggest hit on Aura, "If You Want This Love", only made number seventy-one on the pop charts: [Excerpt: Sonny Knight, "If You Want This Love"] Knight would later go on to write a novel, The Day the Music Died, which Greil Marcus described as "the bitterest book ever written about how rock'n'roll came to be and what it turned into". Marcus said it was about "how a rich version of American black culture is transformed into a horrible, enormously profitable white parody of itself: as white labels sign black artists only to ensure their oblivion and keep those blacks they can't control penned up in the ghetto of the black charts; as white America, faced with something good, responds with a poison that will ultimately ruin even honest men". Given that Knight was the artist who did the *best* out of Aura Records, that says a great deal about the label. But one of the bands that Aura signed, who did absolutely nothing on the charts, was a group called Rick and the Ravens, led by a singer called Screamin' Ray Daniels. They were an LA club band who played a mixture of the surf music which the audiences wanted and covers of blues songs which Daniels preferred to sing. They put out two singles on Aura, "Henrietta": [Excerpt: Rick and the Ravens, "Henrietta"] and "Soul Train": [Excerpt: Rick and the Ravens, "Soul Train"] Ray Daniels was a stage name -- his birth name was Ray Manzarek, and he would later return to that name -- and the core of the band was Ray on vocals and his brothers Rick on guitar and Jim on harmonica. Manzarek thought of himself as a pretty decent singer, but they were just a bar band, and music wasn't really his ideal career.  Manzarek had been sent to college by his solidly lower-middle-class Chicago family in the hope that he would become a lawyer, but after getting a degree in economics and a brief stint in the army, which he'd signed up for to avoid getting drafted in the same way people like Dean Torrence did, he'd gone off to UCLA to study film, with the intention of becoming a filmmaker. His family had followed him to California, and he'd joined his brothers' band as a way of making a little extra money on the side, rather than as a way to become a serious musician. Manzarek liked the blues songs they performed, and wasn't particularly keen on the surf music, but thought it was OK. What he really liked, though, was jazz -- he was a particular fan of McCoy Tyner, the pianist on all the great John Coltrane records: [Excerpt: John Coltrane, "My Favorite Things"] Manzarek was a piano player himself, though he didn't play much with the Ravens, and he wanted more than anything to be able to play like Tyner, and so when Rick and the Ravens got signed to Aura Records, he of course became friendly with Dick Bock, who had produced so many great jazz records and worked with so many of the greats of the genre. But Manzarek was also having some problems in his life. He'd started taking LSD, which was still legal, and been fascinated by its effects, but worried that he couldn't control them -- he couldn't tell whether he was going to have a good trip or a bad one. He was wondering if there was a way he could have the same kind of revelatory mystical experience but in a more controlled manner. When he mentioned this to Bock, Bock told him that the best method he knew for doing that was transcendental meditation. Bock gave him a copy of one of the Maharishi's albums, and told him to go to a lecture on transcendental meditation, run by the head of the Maharishi's west-coast organisation, as by this point the Maharishi's organisation, known as Spiritual Regeneration, had an international infrastructure, though it was still nowhere near as big as it would soon become. At the lecture, Manzarek got talking to one of the other audience members, a younger man named John Densmore. Densmore had come to the lecture with his friend Robby Krieger, and both had come for the same reason that Manzarek had -- they'd been having bad trips and so had become a little disillusioned with acid. Krieger had been the one who'd heard about transcendental meditation, while he was studying the sitar and sarod at UCLA -- though Krieger would later always say that his real major had been in "not joining the Army". UCLA had one of the few courses in Indian music available in the US at the time, as thanks in part to Bock California had become the centre of American interest in music from India -- so much so that in 1967 Ravi Shankar would open up a branch of his own Kinnara Music School there. (And you can get an idea of how difficult it is to separate fact from fiction when researching this episode that one of the biographies I've used for the Doors says that Krieger heard about the Maharishi while studying at the Kinnara school. As the only branch of the Kinnara school that was open at this point was in Mumbai, it's safe to say that unless Krieger had a *really* long commute he wasn't studying there at this point.) Densmore and Manzarek got talking, and they found that they shared a lot of the same tastes in jazz -- just as Manzarek was a fan of McCoy Tyner, so Densmore was a fan of Elvin Jones, the drummer on those Coltrane records, and they both loved the interplay of the two musicians: [Excerpt: John Coltrane, "My Favorite Things"] Manzarek was starting to play a bit more keyboards with the Ravens, and he was also getting annoyed with the Ravens' drummer, who had started missing rehearsals -- he'd turn up only for the shows themselves. He thought it might be an idea to get Densmore to join the group, and Densmore agreed to come along for a rehearsal. That initial rehearsal Densmore attended had Manzarek and his brothers, and may have had a bass player named Patricia Hansen, who was playing with the group from time to time around this point, though she was mostly playing with a different bar band, Patty and the Esquires. But as well as the normal group members, there was someone else there, a friend of Manzarek's from film school named Jim Morrison. Morrison was someone who, by Manzarek's later accounts, had been very close to Manzarek at university, and who Manzarek had regarded as a genius, with a vast knowledge of beat poetry and European art film, but who had been regarded by most of the other students and the lecturers as being a disruptive influence. Morrison had been a fat, asthmatic, introverted kid -- he'd had health problems as a child, including a bout of rheumatic fever which might have weakened his heart, and he'd also been prone to playing the kind of "practical jokes" which can often be a cover for deeper problems. For example, as a child he was apparently fond of playing dead -- lying in the corridors at school and being completely unresponsive for long periods no matter what anyone did to move him, then suddenly getting up and laughing at anyone who had been concerned and telling them it was a joke. Given how frequently Morrison would actually pass out in later life, often after having taken some substance or other, at least one biographer has suggested that he might have had undiagnosed epilepsy (or epilepsy that was diagnosed but which he chose to keep a secret) and have been having absence seizures and covering for them with the jokes. Robby Krieger also says in his own autobiography that he used to have the same doctor as Morrison, and the doctor once made an offhand comment about Morrison having severe health problems, "as if it was common knowledge". His health difficulties, his weight, his introversion, and the experience of moving home constantly as a kid because of his father's career in the Navy, had combined to give him a different attitude to most of his fellow students, and in particular a feeling of rootlessness -- he never owned or even rented his own home in later years, just moving in with friends or girlfriends -- and a lack of sense of his own identity, which would often lead to him making up lies about his life and acting as if he believed them. In particular, he would usually claim to friends that his parents were dead, or that he had no contact with them, even though his family have always said he was in at least semi-regular contact. At university, Morrison had been a big fan of Rick and the Ravens, and had gone to see them perform regularly, but would always disrupt the shows -- he was, by all accounts, a lovely person when sober but an aggressive boor when drunk -- by shouting out for them to play "Louie Louie", a song they didn't include in their sets. Eventually one of Ray's brothers had called his bluff and said they'd play the song, but only if Morrison got up on stage and sang it. He had -- the first time he'd ever performed live -- and had surprised everyone by being quite a good singer. After graduation, Morrison and Manzarek had gone their separate ways, with Morrison saying he was moving to New York. But a few weeks later they'd encountered each other on the beach -- Morrison had decided to stay in LA, and had been staying with a friend, mostly sleeping on the friend's rooftop. He'd been taking so much LSD he'd forgotten to eat for weeks at a time, and had lost a great deal of weight, and Manzarek properly realised for the first time that his friend was actually good-looking. Morrison also told Manzarek that he'd been writing songs -- this was summer 1965, and the Byrds' version of "Mr. Tambourine Man", Dylan's "Like a Rolling Stone", and the Stones' "Satisfaction" had all shown him that there was potential for pop songs to have more interesting lyrical content than "Louie Louie". Manzarek asked him to sing some of the songs he'd been writing, and as Manzarek later put it "he began to sing, not in the booze voice he used at the Turkey Joint, but in a Chet Baker voice". The first song Morrison sang for Ray Manzarek was one of the songs that Rick and the Ravens would rehearse that first time with John Densmore, "Moonlight Drive": [Excerpt: Rick and the Ravens, "Moonlight Drive"] Manzarek invited Morrison to move in with him and his girlfriend. Manzarek seems to have thought of himself as a mentor, a father figure, for Morrison, though whether that's how Morrison thought of him is impossible to say. Manzarek, who had a habit of choosing the myth over the truth, would later claim that he had immediately decided that he and Morrison were going to be a duo and find a whole new set of musicians, but all the evidence points to him just inviting Morrison to join the Ravens as the singer Certainly the first recordings this group made, a series of demos, were under Rick and the Ravens' name, and paid for by Aura Records. They're all of songs written by Morrison, and seem to be sung by Morrison and Manzarek in close harmony throughout. But the demos did not impress the head of Liberty Records, which now owned Aura, and who saw no commercial potential in them, even in one that later became a number one hit when rerecorded a couple of years later: [Excerpt: Rick and the Ravens, "Hello I Love You"] Although to be fair, that song is clearly the work of a beginning songwriter, as Morrison has just taken the riff to "All Day and All of the Night" by the Kinks, and stuck new words to it: [Excerpt: The Kinks, "All Day and All of the Night"] But it seems to have been the lack of success of these demos that convinced Manzarek's brothers and Patricia Hansen to quit the band. According to Manzarek, his brothers were not interested in what they saw as Morrison's pretensions towards poetry, and didn't think this person who seemed shy and introverted in rehearsals but who they otherwise knew as a loud annoying drunk in the audience would make a good frontman. So Rick and the Ravens were down to just Jim Morrison, Ray Manzarek, and John Densmore, but they continued shopping their demos around, and after being turned down by almost everyone they were signed by Columbia Records, specifically by Billy James, who they liked because he'd written the liner notes to a Byrds album, comparing them to Coltrane, and Manzarek liked the idea of working with an A&R man who knew Coltrane's work, though he wasn't impressed by the Byrds themselves, later writing "The Byrds were country, they didn't have any black in them at all. They couldn't play jazz. Hell, they probably didn't even know anything about jazz. They were folk-rock, for cri-sake. Country music. For whites only." (Ray Manzarek was white). They didn't get an advance from Columbia, but they did get free equipment -- Columbia had just bought Vox, who made amplifiers and musical instruments, and Manzarek in particular was very pleased to have a Vox organ, the same kind that the Animals and the Dave Clark Five used. But they needed a guitarist and a bass player. Manzarek claimed in his autobiography that he was thinking along the lines of a four-piece group even before he met Densmore, and that his thoughts had been "Someone has to be Thumper and someone has to be Les Paul/Chuck Berry by way of Charlie Christian. The guitar player will be a rocker who knows jazz. And the drummer will be a jazzer who can rock. These were my prerequisites. This is what I had to have to make the music I heard in my head." But whatever Manzarek was thinking, there were only two people who auditioned for the role of the guitar player in this new version of the band, both of them friends of Densmore, and in fact two people who had been best friends since high school -- Bill Wolff and Robby Krieger. Wolff and Krieger had both gone to private boarding school -- they had both originally gone to normal state schools, but their parents had independently decided they were bad influences on each other and sent them away to boarding school to get away from each other, but accidentally sent them to the same school -- and had also learned guitar together. They had both loved a record of flamenco guitar called Dos Flamencos by Jaime Grifo and Nino Marvino: [Excerpt: Jaime Grifo and Nino Marvino, "Caracolés"] And they'd decided they were going to become the new Dos Flamencos. They'd also regularly sneaked out of school to go and see a jug band called Mother McCree's Uptown Jug Champions, a band which featured Bob Weir, who was also at their school, along with Jerry Garcia and Pigpen McKernan. Krieger was also a big fan of folk and blues music, especially bluesy folk-revivalists like Spider John Koerner, and was a massive fan of the Paul Butterfield Blues Band. Krieger and Densmore had known each other before Krieger had been transferred to boarding school, and had met back up at university, where they would hang out together and go to see Charles Mingus, Wes Montgomery, and other jazz musicians. At this time Krieger had still been a folk and blues purist, but then he went to see Chuck Berry live, mostly because Skip James and Big Mama Thornton were also on the bill, and he had a Damascene conversion -- the next day he went to a music shop and traded in his acoustic for a red Gibson, as close to the one Chuck Berry played as he could find. Wolff, Densmore, Krieger, and piano player Grant Johnson had formed a band called the Psychedelic Rangers, and when the Ravens were looking for a new guitarist, it was natural that they tried the two guitarists from Densmore's other band. Krieger had the advantage over Wolff for two reasons -- one of which was actually partly Wolff's doing. To quote Krieger's autobiography: "A critic once said I had 'the worst hair in rock 'n' roll'. It stung pretty bad, but I can't say they were wrong. I always battled with my naturally frizzy, kinky, Jewfro, so one day my friend Bill Wolff and I experimented with Ultra Sheen, a hair relaxer marketed mainly to Black consumers. The results were remarkable. Wolff, as we all called him, said 'You're starting to look like that jerk Bryan MacLean'". According to Krieger, his new hairdo made him better looking than Wolff, at least until the straightener wore off, and this was one of the two things that made the group choose him over Wolff, who was a better technical player. The other was that Krieger played with a bottleneck, which astonished the other members. If you're unfamiliar with bottleneck playing, it's a common technique in the blues. You tune your guitar to an open chord, and then use a resonant tube -- these days usually a specially-made metal slide that goes on your finger, but for older blues musicians often an actual neck of a bottle, broken off and filed down -- to slide across the strings. Slide guitar is one of the most important styles in blues, especially electric blues, and you can hear it in the playing of greats like Elmore James: [Excerpt: Elmore James, "Dust My Broom"] But while the members of the group all claimed to be blues fans -- Manzarek talks in his autobiography about going to see Muddy Waters in a club in the South Side of Chicago where he and his friends were the only white faces in the audience -- none of them had any idea what bottleneck playing was, and Manzarek was worried when Krieger pulled it out that he was going to use it as a weapon, that being the only association he had with bottle necks. But once Krieger played with it, they were all convinced he had to be their guitarist, and Morrison said he wanted that sound on everything. Krieger joining seems to have changed the dynamic of the band enormously. Both Morrison and Densmore would independently refer to Krieger as their best friend in the band -- Manzarek said that having a best friend was a childish idea and he didn't have one. But where before this had been Manzarek's band with Morrison as the singer, it quickly became a band centred around the creative collaboration between Krieger and Morrison. Krieger seems to have been too likeable for Manzarek to dislike him, and indeed seems to have been the peacemaker in the band on many occasions, but Manzarek soon grew to resent Densmore, seemingly as the closeness he had felt to Morrison started to diminish, especially after Morrison moved out of Manzarek's house, apparently because Manzarek was starting to remind him of his father. The group soon changed their name from the Ravens to one inspired by Morrison's reading. Aldous Huxley's book on psychedelic drugs had been titled The Doors of Perception, and that title had in turn come from a quote from The Marriage of Heaven and Hell by the great mystic poet and artist William Blake, who had written "If the doors of perception were cleansed every thing would appear to man as it is, Infinite. For man has closed himself up, till he sees all things thro' narrow chinks of his cavern" (Incidentally, in one of those weird coincidences that I like to note when they come up, Blake's Marriage of Heaven and Hell had also inspired the book The Great Divorce by C.S. Lewis, about the divorce of heaven and hell, and both Lewis and Huxley died on the same date, the twenty-second of November 1963, the same day John F. Kennedy died). Morrison decided that he wanted to rename the group The Doors, although none of the other group members were particularly keen on the idea -- Krieger said that he thought they should name the group Perception instead. Initially the group rehearsed only songs written by Morrison, along with a few cover versions. They worked up a version of Willie Dixon's "Back Door Man", originally recorded by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Back Door Man"] And a version of "Alabama Song", a song written by Bertholt Brecht and Kurt Weill, from the opera The Rise and Fall of the City of Mahagonny, with English language lyrics by  Elisabeth Hauptmann. That song had originally been recorded by Lotte Lenya, and it was her version that the group based their version on, at the suggestion of Manzarek's girlfriend: [Excerpt: Lotte Lenya, "Alabama Song"] Though it's likely given their tastes in jazz that they were also aware of a recent recording of the song by Eric Dolphy and John Lewis: [Excerpt: Eric Dolphy and John Lewis, "Alabama Song"] But Morrison started to get a little dissatisfied with the fact that he was writing all the group's original material at this point, and he started to put pressure on the others to bring in songs. One of the first things they had agreed was that all band members would get equal credit and shares of the songwriting, so that nobody would have an incentive to push their own mediocre song at the expense of someone else's great one, but Morrison did want the others to start pulling their weight. As it would turn out, for the most part Manzarek and Densmore wouldn't bring in many song ideas, but Krieger would, and the first one he brought in would be the song that would make them into stars. The song Krieger brought in was one he called "Light My Fire", and at this point it only had one verse and a chorus. According to Manzarek, Densmore made fun of the song when it was initially brought in, saying "we're not a folk-rock band" and suggesting that Krieger might try selling it to the Mamas and the Papas, but the other band members liked it -- but it's important to remember here that Manzarek and Densmore had huge grudges against each other for most of their lives, and that Manzarek is not generally known as an entirely reliable narrator. Now, I'm going to talk a lot about the influences that have been acknowledged for this song, but before I do there's one that I haven't seen mentioned much but which seems to me to be very likely to have at least been a subconscious influence -- "She's Not There" by the Zombies: [Excerpt: The Zombies, "She's Not There"] Now, there are several similarities to note about the Zombies record. First, like the Doors, the Zombies were a keyboard-driven band. Second, there's the dynamics of the songs -- both have soft, slightly jazzy verses and then a more straight-ahead rock chorus. And finally there's the verse chord sequence. The verse for "She's Not There" goes from Am to D repeatedly: [demonstrates] While the verse for "Light My Fire" goes from Am to F sharp minor -- and for those who don't know, the notes in a D chord are D, F sharp, and A, while the notes in an F sharp minor chord are F sharp, A, and C sharp -- they're very similar chords. So "She's Not There" is: [demonstrates] While "Light My Fire" is: [demonstrates] At least, that's what Manzarek plays. According to Krieger, he played an Asus2 chord rather than an A minor chord, but Manzarek heard it as an A minor and played that instead. Now again, I've not seen anyone acknowledge "She's Not There" as an influence, but given the other influences that they do acknowledge, and the music that was generally in the air at the time, it would not surprise me even the smallest amount if it was. But either way, what Krieger brought in was a simple verse and chorus: [Excerpt: The Doors, "Light My Fire"] Incidentally, I've been talking about the song as having A minor chords, but you'll actually hear the song in two different keys during this episode, even though it's the same performance throughout, and sometimes it might not sound right to people familiar with a particular version of the record. The band played the song with the verse starting with A minor, and that's how the mono single mix was released, and I'll be using excerpts of that in general. But when the stereo version of the album was released, which had a longer instrumental break, the track was mastered about a semitone too slow, and that's what I'll be excerpting when talking about the solos -- and apparently that speed discrepancy has been fixed in more recent remasterings of the album than the one I'm using. So if you know the song and bits of what I play sound odd to you, that's why. Krieger didn't have a second verse, and so writing the second verse's lyrics was the next challenge. There was apparently some disagreement within the band about the lyrics that Morrison came up with, with their references to funeral pyres, but Morrison won the day, insisting that the song needed some darkness to go with the light of the first verse. Both verses would get repeated at the end of the song, in reverse order, rather than anyone writing a third or fourth verse. Morrison also changed the last line of the chorus -- in Krieger's original version, he'd sung "Come on baby, light my fire" three times, but Morrison changed the last line to "try to set the night on fire", which Krieger thought was a definite improvement. They then came up with an extended instrumental section for the band members to solo in. This was inspired by John Coltrane, though I have seen different people make different claims as to which particular Coltrane record it was inspired by. Many sources, including Krieger, say it was based on Coltrane's famous version of "My Favorite Things": [Excerpt: John Coltrane, "My Favorite Things"] But Manzarek in his autobiography says it was inspired by Ole, the track that Coltrane recorded with Eric Dolphy: [Excerpt: John Coltrane, "Ole"] Both are of course similar musical ideas, and either could have inspired the “Light My Fire” instrumental section, though none of the Doors are anything like as good or inventive on their instruments as Coltrane's group (and of course "Light My Fire" is in four-four rather than three-four): [Excerpt: The Doors, "Light My Fire"] So they had a basic verse-chorus song with a long instrumental jam session in the middle. Now comes the bit that there's some dispute over.  Both Ray Manzarek and Robby Krieger agree that Manzarek came up with the melody used in the intro, but differ wildly over who came up with the chord sequence for it and when, and how it was put into the song. According to Manzarek, he came up with the whole thing as an intro for the song at that first rehearsal of it, and instructed the other band members what to do. According to Krieger, though, the story is rather different, and the evidence seems to be weighted in Krieger's favour. In early live performances of the song, they started the song with the Am-F sharp minor shifts that were used in the verse itself, and continued doing this even after the song was recorded: [Excerpt: The Doors, "Light My Fire (live at the Matrix)"] But they needed a way to get back out of the solo section and into the third verse. To do this, Krieger came up with a sequence that starts with a change from G to D, then from D to F, before going into a circle of fifths -- not the ascending circle of fifths in songs like "Hey Joe", but a descending one, the same sequence as in "She Came in Through the Bathroom Window" or "I Will Survive", ending on an A flat: [demonstrates] To get from the A flat to the A minor or Asus2 chord on which the verse starts, he simply then shifted up a semitone from A flat to A major for two bars: [demonstrates] Over the top of that chord sequence that Krieger had come up with, Manzarek put a melody line which was inspired by one of Bach's two-part inventions. The one that's commonly cited is Invention No. 8 in F Major, BWV 779: [Excerpt: Glenn Gould, "Invention No. 8 in F Major, BWV 779"] Though I don't believe Manzarek has ever stated directly which piece he was inspired by other than that it was one of the two-part inventions, and to be honest none of them sound very much like what he plays to my ears, and I think more than anything he was just going for a generalised baroque style rather than anything more specific. And there are certainly stylistic things in there that are suggestive of the baroque -- the stepwise movement, the sort of skipping triplets, and so on: [Excerpt: The Doors, "Light My Fire"] But that was just to get out of the solo section and back into the verses. It was only when they finally took the song into the studio that Paul Rothchild, the producer who we will talk about more later, came up with the idea of giving the song more structure by both starting and ending with that sequence, and formalised it so that rather than just general noodling it was an integral part of the song. They now had at least one song that they thought had the potential to be a big hit. The problem was that they had not as yet played any gigs, and nor did they have a record deal, or a bass player. The lack of a record deal may sound surprising, but they were dropped by Columbia before ever recording for them. There are several different stories as to why. One biography I've read says that after they were signed, none of the label's staff producers wanted to work with them and so they were dropped -- though that goes against some of the other things I've read, which say that Terry Melcher was interested in producing them. Other sources say that Morrison went in for a meeting with some of the company executives while on acid, came out very pleased with himself at how well he'd talked to them because he'd been able to control their minds with his telepathic powers, and they were dropped shortly afterwards. And others say that they were dropped as part of a larger set of cutbacks the company was making, and that while Billy James fought to keep them at Columbia, he lost the fight. Either way, they were stuck without a deal, and without any proper gigs, though they started picking up the odd private party here and there -- Krieger's father was a wealthy aerospace engineer who did some work for Howard Hughes among others, and he got his son's group booked to play a set of jazz standards at a corporate event for Hughes, and they got a few more gigs of that nature, though the Hughes gig didn't exactly go well -- Manzarek was on acid, Krieger and Morrison were on speed, and the bass player they brought in for the gig managed to break two strings, something that would require an almost superhuman effort. That bass player didn't last long, and nor did the next -- they tried several, but found that the addition of a bass player made them sound less interesting, more like the Animals or the Rolling Stones than a group with their own character. But they needed something to hold down the low part, and it couldn't be Manzarek on the organ, as the Vox organ had a muddy sound when he tried to play too many notes at once. But that problem solved itself when they played one of their earliest gigs. There, Manzarek found that another band, who were regulars at the club, had left their Fender keyboard bass there, clipped to the top of the piano. Manzarek tried playing that, and found he could play basslines on that with his left hand and the main parts with his right hand. Krieger got his father to buy one for the group -- though Manzarek was upset that they bought the wrong colour -- and they were now able to perform without a bass player. Not only that, but it gave the group a distinctive sound quite unlike all the other bands. Manzarek couldn't play busy bass lines while also playing lead lines with his right hand, and so he ended up going for simple lines without a great deal of movement, which added to the hypnotic feel of the group's music – though on records they would often be supplemented by a session bass player to give them a fuller sound. While the group were still trying to get a record deal, they were also looking for regular gigs, and eventually they found one. The Sunset Strip was *the* place to be, and they wanted desperately to play one of the popular venues there like the Whisky A-Go-Go, but those venues only employed bands who already had record deals. They did, though, manage to get a residency at a tiny, unpopular, club on the strip called The London Fog, and they played there, often to only a handful of people, while slowly building in confidence as performers. At first, Morrison was so shy that Manzarek had to sing harmony with him throughout the sets, acting as joint frontman. Krieger later said "It's rarely talked about, but Ray was a natural born showman, and his knack for stirring drama would serve the Doors' legacy well in later years" But Morrison soon gained enough confidence to sing by himself. But they weren't bringing in any customers, and the London Fog told them that they were soon going to be dropped -- and the club itself shut not long after. But luckily for the group, just before the end of their booking, the booker for the Whisky A-Go-Go, Ronnie Haran walked in with a genuine pop star, Peter Asher, who as half of Peter & Gordon had had a hit with "A World Without Love", written by his sister's boyfriend, Paul McCartney: [Excerpt: Peter and Gordon, "A World Without Love"] Haran was impressed with the group, and they were impressed that she had brought in a real celebrity. She offered them a residency at the club, not as the headlining act -- that would always be a group that had records out -- but as the consistent support act for whichever big act they had booked. The group agreed -- after Morrison first tried to play it cool and told Haran they would have to consider it, to the consternation of his bandmates. They were thrilled, though, to discover that one of the first acts they supported at the Whisky would be Them, Van Morrison's group -- one of the cover versions they had been playing had been Them's "Gloria": [Excerpt: Them, "Gloria"] They supported Them for two weeks at the Whisky, and Jim Morrison watched Van Morrison intently. The two men had very similar personalities according to the other members of the Doors, and Morrison picked up a lot of his performing style from watching Van on stage every night. The last night Them played the venue, Morrison joined them on stage for an extended version of “Gloria” which everyone involved remembered as the highlight of their time there. Every major band on the LA scene played residencies at the Whisky, and over the summer of 1966 the Doors were the support act for the Mothers of Invention, the Byrds, the Turtles, the Buffalo Springfield, and Captain Beefheart and the Magic Band. This was a time when the Sunset Strip was the centre of Californian musical life, before that centre moved to San Francisco, and the Doors were right at the heart of it. Though it wasn't all great -- this was also the period when there were a series of riots around Sunset Strip, as immortalised in the American International Pictures film Riot on Sunset Strip, and its theme song, by the Standells: [Excerpt: The Standells, "Riot on Sunset Strip"] We'll look at those riots in more detail in a future episode, so I'll leave discussing them for now, but I just wanted to make sure they got mentioned. That Standells song, incidentally, was co-written by John Fleck, who under his old name of John Fleckenstein we saw last episode as the original bass player for Love. And it was Love who ensured that the Doors finally got the record deal they needed. The deal came at a perfect time for the Doors -- just like when they'd been picked up by the Whisky A Go-Go just as they were about to lose their job at the London Fog, so they got signed to a record deal just as they were about to lose their job at the Whisky. They lost that job because of a new song that Krieger and Morrison had written. "The End" had started out as Krieger's attempt at writing a raga in the style of Ravi Shankar, and he had brought it in to one of his increasingly frequent writing sessions with Morrison, where the two of them would work out songs without the rest of the band, and Morrison had added lyrics to it. Lyrics that were partly inspired by his own fraught relationship with his parents, and partly by Oedipus Rex: [Excerpt: The Doors, "The End"] And in the live performance, Morrison had finished that phrase with the appropriate four-letter Oedipal payoff, much to the dismay of the owners of the Whisky A Go Go, who had told the group they would no longer be performing there. But three days before that, the group had signed a deal with Elektra Records. Elektra had for a long time been a folk specialist label, but they had recently branched out into other music, first with the Paul Butterfield Blues Band, a favourite of Robby Krieger's, and then with their first real rock signing, Love. And Love were playing a residency at the Whisky A Go Go, and Arthur Lee had encouraged Jac Holzman, the label's owner, to come and check out their support band, who he thought were definitely worth signing. The first time Holzman saw them he was unimpressed -- they sounded to him just like a bunch of other white blues bands -- but he trusted Arthur Lee's judgement and came back a couple more times. The third time, they performed their version of "Alabama Song", and everything clicked into place for Holzman. He immediately signed the group to a three-album deal with an option to extend it to seven. The group were thrilled -- Elektra wasn't a major label like Columbia, but they were a label that nurtured artists and wouldn't just toss them aside. They were even happier when soon after they signed to Elektra, the label signed up a new head of West Coast A&R -- Billy James, the man who had signed them to Columbia, and who they knew would be in their corner. Jac Holzman also had the perfect producer for the group, though he needed a little persuading. Paul Rothchild had made his name as the producer for the first couple of albums by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] They were Robby Krieger's favourite group, so it made sense to have Rothchild on that level. And while Rothchild had mostly worked in New York, he was in LA that summer, working on the debut album by another Elektra signing, Tim Buckley. The musicians on Buckley's album were almost all part of the same LA scene that the Doors were part of -- other than Buckley's normal guitarist Lee Underwood there was keyboard player Van Dyke Parks, bass player Jim Fielder, who had had a brief stint in the Mothers of Invention and was about to join Buffalo Springfield, and drummer Billy Mundi, who was about to join the Mothers of Invention. And Buckley himself sang in a crooning voice extremely similar to that of Morrison, though Buckley had a much larger range: [Excerpt: Tim Buckley, "Aren't You the Girl?"] There was one problem, though -- Rothchild didn't want to do it. He wasn't at all impressed with the band at first, and he wanted to sign a different band, managed by Albert Grossman, instead. But Holzman persuaded him because Rothchild owed him a favour -- Rothchild had just spent several months in prison after a drug bust, and while he was inside Holzman had given his wife a job so she would have an income, and Holzman also did all the paperwork with Rothchild's parole officer to allow him to leave the state. So with great reluctance Rothchild took the job, though he soon came to appreciate the group's music. He didn't appreciate their second session though. The first day, they'd tried recording a version of "The End", but it hadn't worked, so on the second night they tried recording it again, but this time Morrison was on acid and behaving rather oddly. The final version of "The End" had to be cut together from two takes, and the reason is that at the point we heard earlier: [Excerpt: The Doors, "The End"] Morrison was whirling around, thrashing about, and knocked over a TV that the engineer, Bruce Botnick, had brought into the studio so he could watch the baseball game -- which Manzarek later exaggerated to Morrison throwing the TV through the plate glass window between the studio and the control room. According to everyone else, Morrison just knocked it over and they picked it up after the take finished and it still worked fine. But Morrison had taken a *lot* of acid, and on the way home after the session he became convinced that he had a psychic knowledge that the studio was on fire. He got his girlfriend to turn the car back around, drove back to the studio, climbed over the fence, saw the glowing red lightbulbs in the studio, became convinced that they were fires, and sprayed the entire place with the fire extinguisher, before leaving convinced he had saved the band's equipment -- and leaving telltale evidence as his boot got stuck in the fence on the way out and he just left it there. But despite that little hiccup, the sessions generally went well, and the group and label were pleased with the results. The first single released from the album, "Break on Through", didn't make the Hot One Hundred: [Excerpt: The Doors, "Break on Through"] But when the album came out in January 1967, Elektra put all its resources behind the album, and it started to get a bit of airplay as a result. In particular, one DJ on the new FM radio started playing "Light My Fire" -- at this time, FM had only just started, and while AM radio stuck to three-minute singles for the most part, FM stations would play a wider variety of music. Some of the AM DJs started telling Elektra that they would play the record, too, if it was the length of a normal single, and so Rothchild and Botnick went into the studio and edited the track down to half its previous seven-and-a-half-minute length. When the group were called in to hear the edit, they were initially quite excited to hear what kind of clever editing microsurgery had been done to bring the song down to the required length, but they were horrified when Rothchild actually played it for them. As far as the group were concerned, the heart of the song was the extended instrumental improvisation that took up the middle section: [Excerpt: The Doors, "Light My Fire"] On the album version, that lasted over three minutes. Rothchild and Botnick cut that section down to just this: [Excerpt: The Doors, "Light My Fire (single edit)"] The group were mortified -- what had been done to their song? That wasn't the sound of people trying to be McCoy Tyner and Elvin Jones, it was just... a pop song.  Rothchild explained that that was the point -- to get the song played on AM radio and get the group a hit. He pointed out how the Beatles records never had an instrumental section that lasted more than eight bars, and the group eventually talked them

Welcome to Sizzling Samachar of the day on OTTplay, i'm your host NikhilSizzling samachar first up,New biopic series about television host Johnny Carson in the works with Joseph Gordon-Levitt in the leadDavid Milch and Jay Roach will helm an upcoming biopic series on popular late-night television host Jimmy Carson. Joseph Gordon-Levitt will essay the role of Carson, which will focus on    Carson's personal and professional life as the host of The Tonight Show. Distribution rights for the series are yet to be confirmed.Netflix announces release date for fifth season of Selling SunsetThe fifth season of the hit reality series, Selling Sunset, focusing on the lives of real estate agents in America is coming to Netflix next month. The new season will premiere on the platform on April 22 and will follow the glamorous lives of these real estate agents.Nothing Personal, David Spade's new Netflix comedy special, to release next monthStreaming giant Netflix has announced that David Spade's upcoming comedy special titled, Nothing Personal, will be available to stream on April 26. Details regarding the content have not been disclosed yet, but the former SNL man has earned a reputation for humor surrounding self-deprecation and sarcasm. New comedy film starring Arshad Warsi in a double role is currently in development Jolly LLB, Sehar, and Munnabhai actor Arshad Warsi is set to star in a comedy film. Titled Jeevan Bheema Yojana, Warsi will play two roles in the film, and it will be directed by Abhishek Dogra. Warsi will essay the roles of Jeevan and Bheema - one a white-collar employee and the other a local gangster, and the plot will focus on what happens when the two of them cross paths.Dulquer Salmaan and Rajkummar Rao to star in Netflix series Guns And Gulaabs, the upcoming web series starring Rajkumar Rao is in the works at Netflix. The series will be set in the 90s and will likely be a crime thriller. The series also features Gulshan Devaiah, Gourav Adarsh, and Malayalam star Dulquer Salmaan, in important roles. The Family Man directors  Raj and DK will helm Guns And Gulaabs.Satyajit Ray to be honored at Cannes this yearLegendary filmmaker Satyajit Ray will be honored at the Cannes Film Festival this year. The 12-day film festival which will commence on the 17th of May will feature a special 10-film retrospective as a tribute to the auteur on his birth centenary. Pather Panchali, Aparajito, Apur Sansar, and Charulata are some of the films expected to feature in this list. Well that's the news from the world of movies and entertainment for today's episode, until the next podcast its your host Nikhil signing outAaj kya dekhoge OTTplay se poocho

Pankaj Mishra's Run and Hide tells a story of modern Indian times, as the hidden pasts of wealthy, Gatsby-style tech entrepreneurs must be reckoned with. And to help put this modern India in context, Dr Pragya Dhital will consider the resonances of the tumultuous period of "The Emergency", the response of the Indian government to a period of "internal disturbance" in the 1970s. She discusses the homemade or samizdat style leaflets which journalists like Ram Dutt Tripathi used to great effect. The cuisine of India is a national symbol around the world, but Dr Sharanya Murali explores how this most traditional artform, cookery, can become iconoclastic when utilised in performance art by the likes of Pushpamala N and Raj Goody. And Dr Vikram Visana will consider populism in India, telling us how differing parties are vying to answer questions of national identity which seem increasingly ill-suited to the challenges facing this modern democracy - and one of the key figures he discusses is KM Munshi. Asked for their key cultural figures of India the panel made some eclectic choices. Seek out the short stories of Ismat Chughtai who endured an obscenity trial for her works, and VS Naipaul was viewed as a great chronicler of a crisis in the Hindu struggle with the modern world. Bilkis Dadi was the most recognisable face of the Shaheen Bagh protests against the Citizenship Amendment Act and the music of Mehdi Hassan was remembered as a culturally unifying force between India and Pakistan. Read more at: https://www.shethepeople.tv/news/shaheen-baghs-bilkis-dadi-on-bbcs-100-women-of-2020-list/ Presented by Rana Mitter Produced by Kevin Core If you want more programmes exploring South Asian culture and history you can find Rana looking at the film Pather Panchali made by Satyajit Ray and the writing of Sunjeev Sahota https://www.bbc.co.uk/programmes/b060zmjs Maha Rafi Atal, Anindita Ghosh, Jahnavi Phalkey and Yasmin Khan share their research in an episode called Everything You Never Knew About Indian history https://www.bbc.co.uk/programmes/b069yb6k O What a Lovely Savas explores India's First World War experiences https://www.bbc.co.uk/programmes/b047zvbj Tariq Ali on the 50th anniversary of 1968 uprisings https://www.bbc.co.uk/programmes/p05x9zq2 Rana explores Pakistan politics and water supplies https://www.bbc.co.uk/programmes/m000s9cg Amitav Gosh on weaving the ancient legend about the goddess of snakes, Manasa Devi into a journey between America, the Sundarbans and Venice https://www.bbc.co.uk/programmes/m00066px Arundhati Roy https://www.bbc.co.uk/programmes/b08slx9t

Fala aí gente! Aqui é a Nandu ;)Hoje o episódio é sobre o filme Pather Panchali, o primeiro filme de Satyajit Ray e que inicia a clássica Trilogia de Apu. Foi um dos marcos iniciais que trouxe uma proposta de novo cinema à Índia, apresentando uma aldeia bengali e o dia-a-dia.Roteiro e Pesquisa @Nandu_u22 Edição @AudioHeroesRedes Sociais: Instagram e twitter e-mail: falaainandu@gmail.com A cada quinze dias tem um novo episódio.Beijos e Phir Milenge!

A motorbike adorned with a zebu skull is one of the central images of Djibril Diop Mambéty's classic 1973 film, whose title translates as The Journey of the Hyena. Listed as one of the 100 greatest films of all time in the Sight and Sound magazine poll, it mixes West African oral traditions with influences from the French New Wave and Soviet cinema. Mory and Anta are two young people growing up in a newly independent Senegal who fantasise about leaving Dakar for a new life in France, but how can they realise those dreams and do they really want to leave? Matthew Sweet is joined by New Generation Thinker Sarah Jilani, Estrella Sendra Fernandez and Ashley Clark. Sarah Jilani is a lecturer in English at City, University of London and has written on neocolonialism in Francophone West African cinema. Estrella Sendra Fernandez lectures in film and screen studies at SOAS, University of London. She directed the award-winning documentary film Témoignages de l'autre côté about migration in Senegal. Ashley Clark is curatorial director at the Criterion Collection. He is the author of the book Facing Blackness: Media and Minstrelsy in Spike Lee's “Bamboozled” Producer: Torquil MacLeod Image: Mareme Niang (Right), and Magaye Niang in a still from the film Touki Bouki Le Voyage de la Hyène, 1973 Senegal. Director : Djibril Diop Mambéty. Image credit: Alamy In the Free Thinking archives you can find a series of programmes exploring silent film, star actors including Jean-Paul Belmondo, Marlene Dietrich, Dirk Bogarde, and classics of cinema around the world including Kurosawa's Rashomon, Satyajit Ray's Pather Panchali, the films of Jacques Tati and Charlie Chaplin.

This week, Finn & Uther watch 'Pather Panchali' (1955), a film so good it invented a new kind of cinema, and 'Cinderella' (2021), un film de James Corden. See acast.com/privacy for privacy and opt-out information.

Differing poverties. Turns out, this is not a cheeky Double Feature. A fresh breath of filmmaking in Pather Panchali, a movie many people are still discovering for the first time. The way current films address diversity is still condescending. The … Continue reading → The post Pather Panchali + Kajillionaire first appeared on Double Feature.

The masterpiece that was Pather Panchali directed by Ray, had us swooning over the female-centric characterisatiob way ahead of it's time. ---- Buzz Magazine is a one-stop place for readers, authors, and publishers. It was founded in 2015, when Aniesha Brahma, a Young Adult and Children's Author wanted to create a platform for authors and publishers to talk about their books, and readers to get easy access to it. It grew into a place for all things books ranging from bookish merchandise to bookish cafes. Buzz Magazine has now expanded into Buzz Talks, a YT Interview Series and Buzz Pod, a podcast, for authors, book cafe owners, book app creators, etc. Recently we also started our Buzz Quick Chat Series. If you want to know more, please drop a mail to: buzzmagazine03@gmail.com Follow us on social media: Facebook: www.facebook.com/buzzmagazine03 Instagram: www.instagram.com/buzzmagazine03 Twitter: www.twitter.com/buzzmagazine03 Visit us at: www.buzzmagazineindia.com

Satyajit Ray to reżyser, którego chyba nie trzeba nikomu przedstawiać, bo każdy wie, że to największy indyjski twórca filmowy. Jednak, jak to często z wielkimi nazwiskami bywa, często zdarza się, że nazwiska znamy, ale dzieła już mniej. Dlatego zapraszam dziś Państwa na spotkanie z filmem Pather Panchali, debiutem Satyajita Raya od którego warto rozpocząć poznawanie twórczości tego wyjątkowego twórcy. UWAGA! Nie wiem skąd mi się wzięła forma „uwidaczniona”, którą powtarzam w nagraniu aż dwa razy, ale tym razem wyjątkowo rozpraszały mnie hałasy, które co rusz zmuszały mnie do robienia przerw i wytrącały mnie tym samym z rytmu (zresztą można to poznać i po fakcie, że się powtarzam bardziej niż zwykle). Niektóre hałasy, niestety, słychać – chyba na całym osiedlu trwa sezon remontowy, bo codziennie ktoś wierci i stuka, przepraszam za to najmocniej. Bibliografia: Ray S., 1997, My Years With Apu, Faber and Faber Limited, London. Robinson A., 2004, Satyajit Ray, The Inner Eye: The Biography of a Master Film-Maker, I.B.Tauris & Co Ltd., New York, London. Robinson A., 2011, The Apu Trilogy. Satyajit Ray and the Making of an Epic, I.B.Tauris & Co Ltd., New York, London. Seton M., 2003, Satyajit Ray. Portrait of a Director, Penguin Random House India, Gurgaon.

Are you ready for a three-way showdown? 1955 brings us several classics, including a suspenseful French thriller and a Danish masterpiece that Sight & Sound cited as one of the 25 best films ever made. But it's all going to come down to a battle between three movies, featuring an iconic film villain, James Dean's most famous role, and a hitherto-unknown Indian director whose labor of love finally comes to fruition. But which one film has best stood the test of time? Join Rachel Schaevitz and Aaron Keck as they discuss the year in cinema, first-time directors, "poverty porn," red jackets, homoeroticism, trains, twists, faith, miracles, LOVE, HATE, spoiler alerts, and dead-or-not-dead men in bathtubs - and then we dig into the data and the numbers (and our expert panel votes) to identify the best picture of 1955. The nominees are Les Diaboliques, Night of the Hunter, Ordet, Pather Panchali, and Rebel Without A Cause. Who wins the Moonlight? 

'This podcast is operated with the activity of Rabbi Kolakowski as a private individual and not as a representative of the Commonwealth of Pennsylvania, the Department of Corrections, or any facility, bureau or office thereof. None of the statements, representations, viewpoints, images or other media contained herein has been sanctioned, approved or endorsed by the Commonwealth or the Department. Nothing contained herein should be deemed to represent the official views of the Commonwealth or the Department.' This podcast is powered by JewishPodcasts.org. Start your own podcast today and share your content with the world. Click jewishpodcasts.fm/signup to get started.

This week begins a three episode journey into International Films. We start with Indian filmmaker Satyajit Ray and his directorial debut “Pather Panchali”. Adam and Ian discuss the lengths Ray went to get this film off of the ground, how gorgeous this film would have been in color, and the way HBO Max is killing the streaming game. It’s a slow, slice-of-life film that has ties to the same issues we face today, but do the guys at 1001 by 1 think it should be in the book? You’ll have to tune in to find out. Also, this week Ian recommends “Dark Waters” (available on Showtime) and Adam recommends “House of Games” (available for free on Tubi). Want to suggest a film for us to review on the show? You can support us at patreon.com/1001by1. You can listen to us on iTunes, Stitcher, Spotify, & Google Play. You can find us on Facebook at facebook.com/1001by1. You can find us on Twitter at twitter.com/1001by1. You can send us an email at 1001by1@gmail.com. Intro/Outro music is “Bouncy Gypsy Beats” by John Bartmann. 0:00 – Intros & “Southland Tales” 10:41 – “The Happytime Murders” 14:33 – “Dark Waters’ 18:31 – “House of Games” 23:33 – “Pather Panchali” Stats/History (28:14 – Drop in Audio Quality) 29:18 – “Pather Panchali” Plot/Thoughts 1:10:55 – Closing Thoughts

आज के The Unknown Movie Review के इस एपिसोड में सार्थक कपूर बात करेंगे सदी के सब बड़े भारतीय फिल्मकार सत्यजीत रे की। सार्थक बताएँगे कि कैसे बीवी के ज़ेवर और खुद का life insurance बेच कर बनाई गई थी उनकी फिल्म पाथेर पांचाली। क्या थी सत्यजीत रे की ज़िन्दगी और क्यों मिले उन्हें 35 नेशनल awards, इन सभी बातों पर चर्चा होगी आज के The Unknown Movie Review के इस एपिसोड में 

It's the hundreth anniverary of the birth of director Satyajit Ray, so we invited Indian cinema enthusiast Jimmy Cage to talk about the master's debut masterpiece: Pather Panchali. Please consider taking a look at this document to learn more about and help in the relief efforts for the effects of the COVID-19 pandemic in India: https://docs.google.com/document/u/0/d/1ppS3GfJ4UT9BxFl9bIWEI7H4rM33G-oRTL125-xDt3M/mobilebasic Follow us on itunes and leave you ratings and reviews: https://podcasts.apple.com/us/podcast/the-criterion-project/id1479953904 Follow us on anchor https://anchor.fm/criterionproject Follow our twitter at https://twitter.com/criterionpod Follow Jimmy on Twitter: https://twitter.com/TheJimmyCage Subscribe to Jimmy's Youtube Channel: https://www.youtube.com/channel/UCtqYaS8ZlcRbW1kWbdgVIBg Follow Rachel's blog at rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Listen to Rachel's Reviews on Itunes: https://itunes.apple.com/us/podcast/rachels-reviews/id1278536301?mt=2 Listen to Hallmarkies Podcast at https://podcasts.apple.com/us/podcast/hallmarkies-podcast/id1296728288 Listen to Conrado's new podcast Foreign Invader: https://podcasts.apple.com/us/podcast/foreign-invader/id1552560225 Follow Conrado's blog cocohitsny.wordpress.com/ Follow Conrado on twitter @CocoHitsNY Check out Conrado's webseries WORMHOLES on youtube https://www.youtube.com/channel/UC51Tg9gR5mXxEeaansRUYRw Our intro is written by Michael Lloret. Please use him for all your music needs https://www.michael-lloret.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/criterionproject/support

Franchise installments and Oscar hopefuls were nowhere to be found for most of 2020, and that left a ton of time to catch up on all those films we'd been putting off. In the second half of our 2020 retrospective, we skim the cream of the crop from our non-2020 film diaries to breakdown everything we caught up with. From our favorite classics, modern classics, and rewatches, to which actors and filmmakers from yesteryear we fell in love with while we were living in our quarantine bubbles, we share the many silver linings we encountered along the way that helped make 2020 just a tad more bearable. Don’t forget to follow the show @CinemaJoes on Twitter and follow our hosts around the web at the following places! Hosts' Other Pods Pod on the Rooftops - TV Break - Good Bye to All That Hosts' Writing Justin’s Blog - Justin’s Letterboxd Noah‘s Blog - Noah’s Twitter Alex’s Letterboxd - Alex’s Twitter - Alex’s PopBreak Below here is a list of all the films we discussed this week and where you can find them streaming (US-Region only) if you want to catch up with them too! First View Classic Justin: Stop Making Sense (Amazon) Noah: Se7en (HBOMAX); Zodiac (Amazon) Alex: Citizen Kane (HBOMAX); Pather Panchali, (HBOMAX; The Criterion Channel) Modern Classic Justin: Mommy (Tubi) Noah: Cloud Atlas (VOD) Alex: Mad Max: Fury Road (HBOMAX); Lady Bird (Netflix) Actor/Director Love Story Justin: Barbara Koppole - Harlan County USA (HBOMAX); Desert One (Kanopy/Hoopla) Noah: Bin Yu - The Untamed (Netflix) Alex: Susan Sarandon - The Hunger (VOD); The Witches of Eastwick (HBOMAX); Thelma & Louise (VOD); Lorenzo’s Oil (VOD); The Player (HBOMAX); The Client (HBOMAX) Mike Nichols - Who’s Afraid of Virginia Woolf? 1966 (HBOMAX); The Graduate (HBOMAX); Heartburn (Amazon); Working Girl (Showtime/FuboTV); Postcards from the Edge (VOD); Closer (VOD) Best Rewatch Justin: Being John Malkovich (Showtime/FuboTV) Noah: Kiki’s Delivery Service (HBOMAX) Alex: The Witches of Eastwick (HBOMAX) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/CinemaJoes/support

This week we wrap up our round of trilogies with an unexpected gem, The Apu Trilogy. Directed by Satyajit Ray in the 1950's, these films follow Apu, an indelible character, a free-spirited child in rural Bengal who matures into an adolescent urban student and finally a sensitive man of the world. Open yourselves up to the world of black & white film and subtitles, and enjoy the cinematic triumph that is The Apu Trilogy. Meet Tom: ~1:57 Apu Trilogy Review: ~21:30 How the Before Trilogy Compares: ~1:08:13 Death & The Train: ~1:38:28 Apu Rushmore: ~1:56:58 OUR WEBSITE OUR SOCIAL MEDIA Our Letterboxd Reviews for “Pather Panchali" Our Letterboxd Reviews for “Aparajito" Our Letterboxd Reviews for “Apur Sansar" Music: Umbels and StreamBeats Support Us --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/threefilmspod/message

Barrett Fisher and Sam Mulberry meet up in the video store to talk about the 1955 film Pather Panchali and to get Barrett's film recommendation for next week. For more information about Video Store or to find all of our episodes, check out our website: https://videostorepodcast.wordpress.com/

Kicking things off with the first of Satyajit Ray's Apu Trilogy, Ayelet and Pramit discuss color cinema, trains, poverty, gender, and, of course, Zootopia.

From the age of ten to thirteen, Freddie Mercury was my hero and idol. His death of aids, at the age of 45, coincided with the end of my own childhood innocence. In this episode of the Cinema Love Letters podcast, I watch Satyajit Ray's PATHER PANCHALI (India, 1955), which came out when Freddie was ten years old and attending boarding school in India.

As a contrast to the majority of Indian film covered on the podcast so far, today Alex and Jonathan look at the works of Satyajit Ray in Pather Panchali (1955), Charulata (1964), and Nayak: The Hero (1966). We discuss what makes Ray stand out from other Indian films we've covered, how Ray is able to capture the specific and universal aspects of Indian life, and the importance of studying a broad range of stories. Skip to: 7:46 – Pather Panchali 24:40 – Charulata 39:17 – Nayak: The Hero 58:44 – Overall 1:06:30 – Coming Attractions Coming Attractions: Rififi (1955) Ocean's Eleven (1960) Inception (2010) For more information, visit the blog: https://thefilmlings.wordpress.com/2020/10/27/satyajit/ Support the Show! Patreon: https://patreon.com/thefilmlings Ko-fi: https://ko-fi.com/thefilmlings

#patherpanchali #satyajitray #aputriology #apu #bengalimovie #moviereveiw #songoftheroad This is an analysis of the most renowned movie of Indian Cinema - Pather Panchali. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this Casually Criterion episode, Justin, Chris, and Mike break down Spine #783 Satyajit Ray's Pather Panchali. However, before getting into that, Chris talks about setting up his own online film festival during the quarantine. Mike talks about rewatching Goldeneye and No Country For Old Men. Normally this would be a link to the poll for our next Criterion episode. However, since we have already started this trilogy, our next two Casually Criterion episodes will be parts 2 and 3 of the Apu Trilogy.  RUNDOWN -  - Intro (00:00:00 - 00:07:26) - News on the March! (00:07:26 - 00:23:45)       - Chris' film festival standouts.       - Goldeneye       - No Country For Old Men - Pather Panchali Discussion (00:23:45 - 01:09:15) - Next Week: Da 5 Bloods Also, for all your movie and game news, reviews, and more, check out our friends at www.cinelinx.com. Follow us on: Twitter Facebook Instagram Email us at: casualcinemedia@gmail.com Talk Criterion Collection, film, tv and other stuff with us in our Facebook group at:  https://www.facebook.com/groups/casualcinecast Intro/Outro Music courtesy of Jake Wagner-Russell at www.soundcloud.com/bopscotch

Audio Drama/ Audiobook.

Audio Drama/ Audiobook.

Staying at home is a global phenomenon in these difficult times, as we all find ourselves with a lot more indoors time and anxiety on our hands. For our latest daily edition of Film Comment Podcast at Home, we go to Brazil. Critic and programmer Ela Bittencourt wrote our interview feature on Bacurau in our March-April issue, and now, the film's story of collective action, state of siege, and inequality feel ever more urgent. Film Comment Editor-in-Chief Nicolas Rapold and Assistant Editor Devika Girish talked about the situation in Brazil and also what Ela has been watching. In addition to Bacurau, we also discuss Bong Joon-ho's Parasite, Joseph Losey's The Servant and Mr. Klein, Satyajit Ray's Pather Panchali, Mani Kaul's Our Daily Bread, and Jia Zhangke's Ash Is Purest White. If you're a longtime Film Comment subscriber, listener, or reader, or are just tuning in now, please consider becoming a member or making a donation to our publisher, Film at Lincoln Center, during these unprecedented times: purchase.filmlinc.org/donate/contribute2

Welcome back to a new episode of Parde Ke Peeche! So far, we have focused on the development & popularization of Hindi cinema in India. However, just as there is no one language in India, there is no ONE cinema in India.For today’s episode, we explore how Bengali Cinema culture, with its focus on social realism & consciousness, emerged during the same time as popular cinema and how the stalwarts of post-independence Bengali cinema broke conventions of popular Indian cinema.Opening Clip: Interview of Satyajit Ray with Kevin Thomas, LA Times, 1977.

Set in the 1910s in Bengal, this film shows us a poor, but loving, family struggling to make a living. The post W053: Pather Panchali (1955) appeared first on .

La curiosidad de dos hermanos en un rincón de la India, sus correrías por los campos de caña de bambú, suena el sitar y las flautas de Ravi Shankar y se hace el milagro del cine. Aromas hindúes nos acercan a la canción del camino, las vicisitudes de una familia con problemas de vacas flacas. El padre soñador sonríe a la adversidad, lo que Dios disponga estará bien, la madre, más pragmática, mira de frente a la miseria con su ademán de amargura, de vergüenza mal disimulada, la anciana despegada, arisca, camina encorvada y come la fruta robada que la niña le trae del huerto y su madre le repite: "está usted malcriando a mi hija". Durga y Apu, Apu y Durga, los dos hermanos corretean entre arbustos, pájaros, gatitos, barro, imágenes vivísimas nos hacen viajar a la India de los años 50, a un entorno rural de aguas plácidas, insectos flotantes, troncos, hojarasca, chozos de palmas y ladrillos de adobe. La mística y el realismo, la naturaleza, el monzón que debía llevarse la ruina, y sin embargo trae la desgracia, Durga nunca se pondrá el sari que le regala su padre. Obra maestra, manantial de vida y muerte dirigido por Satyajit Ray. Estrenada en 1955, pocos años después de la independencia de la India y la muerte de Gandhi. La canción del camino abre la trilogía de Apu, seguida de Aparajito (El invencible) y Apu Sansari (El mundo de Apu). El artista indio Ray, fascinado por el cine occidental, amaba los planos de Welles, el humanismo de De Sica, el documental étnico de Robert Flaherty, la fluidez de Wyler, la calidez de Ford, el realismo, la austeridad y la poesía de Jean Renoir. Renoir viajó a la India pocos años antes del rodaje de Pather Panchali, allí iba a buscar localizaciones para filmar El río y Ray luchó por ver el rodaje y conocer al cineasta que admiraba. Los ojos despiertos del crío nos dicen cuando hay que sonreir y cuando hay que llorar. La sencillez de la vida en un lugar retirado del mundo, el tren es el progreso,pasa tapando los campos y evoca la ciudad lejana, desconocida, la esperanza de seguir hacia adelante, de recorrer el camino y de continuar el ciclo. Los ojos azabache de Apu descubren el mundo con su hermana, corren a los arrozales y la cámara sube en panorámica de la tierra hacia el cielo mismo, mira a través de las sábanas antes de ir al colegio por primera vez. La abuela ya no ve apenas, ya no realiza sus abluciones, espanta su mal cantando a la luna, encorvada se retira, su última mirada al perro, a la fuente, al hogar que la rechaza, la anciana se va a morir en soledad. Raúl Gallego Esta noche comemos arroz blanco con las manos y buscamos la purificación del agua... José Miguel Moreno, Gervi Navío y Raúl Gallego.

On the August 12 episode of /Film Daily, /Film editor-in-chief Peter Sciretta is joined by /Film managing editor Jacob Hall, weekend editor Brad Oman, senior writer Ben Pearson and writers Hoai-Tran Bui and Chris Evangelista to discuss what they've been up to at the Water Cooler.   At The Water Cooler: What we've been Doing:Peter was in Las Vegas for the magic convention Magic Live. He got the opportunity to visit David Copperfield's museum and airplane hanger. And he won $200 in a slot machine. Ben wants to quickly plug Jurassic Park in Concert Hoai-Tran visited the hometown of Charles Addams for The Addams Family, saw early footage of Gemini Man, went to an A24 Public Access Screening of Good Time underneath a Queens subway line. What we've been Reading:AChris re-read Doctor Sleep by Stephen King, and ended up liking it much more the second time.  Ben read Agatha Christie's Death on the Nile What we've been Watching:HT, Chris and Jacob saw Scary Stories to Tell in the Dark.   Jacob and Brad saw The Farewell.   Before he went to Vegas, Peter went to Disneyland to experience the Main Street Electrical Parade. Chris watched Glow: Season 3. Ben watched Love Antosha, Parasite, Pather Panchali, The Burial of Kojo, and The Castle of Cagliostro   Jacob watched Pulp Fiction, Inglourious Basterds, American Hangman, and The Ring Two.   Hoai-Tran watched The Art of Racing in the Rain and Lady Snowblood. What we've been Eating:Peter are Hattie B's Hot Chicken at the Cosmopolitan hotel and casino. Brad tried a much smaller scale version of the Fool's Gold Loaf sandwich. What we've been Playing:Jacob played Horrified again, and started reading the rulebook for Band of Blades.   Other Articles Mentioned: /Film Visits David Copperfield's Secret Warehouse/Museum to Learn The Magic History Behind ‘Burt Wonderstone' Scary Stories review Scary Stories spoiler review Alamo Drafthouse Downtown Los Angeles Video Tour   All the other stuff you need to know: You can find more about all the stories we mentioned on today's show at slashfilm.com, and linked inside the show notes. /Film Daily is published every weekday, bringing you the most exciting news from the world of movies and television as well as deeper dives into the great features from slashfilm.com.  You can subscribe to /Film Daily on iTunes, Google Podcasts, Overcast, Spotify and all the popular podcast apps (RSS).  Send your feedback, questions, comments and concerns to us at peter@slashfilm.com. Please leave your name and general geographic location in case we mention the e-mail on the air.  Please rate and review the podcast on iTunes, tell your friends and spread the word!  Thanks to Sam Hume for our logo.

Tyler and David discuss the movies they've been watching, including The White Crow, Shazam!, The Wind, Pather Panchali, and High Life.

The Apu Trilogy is one of the most beloved films in cinema history and The Immortals get the chance to start it with the poverty coming-of-age film, Pather Panchali. Then they get their taste of European history with an album by John Cale. They dive into what it means to be a drug song with Sister Morphine by Marianne Faithfull--not The Rolling Stones. Then Austin is too enthusiastic about a spy drama called The Sandbaggers. MOST POPULAR ENTRIES EVER!!!!   Intro 0:00 -- 13:17 Pather Panchali 13:17 -- 39:48 Paris 1919 39:48 -- 46:31 Sister Morphine 46:31 -- 54:21 The Sandbaggers 54:21 -- 1:03:00 Outro 1:03:00 -- 1:10:04   --Leave your own henge ratings at TheArtImmortal.com --Be sure you leave an iTunes review   Twitter iTunes YouTube   Join us next time as we discuss more random things. Until then, email or tweet us your thoughts, leave a review on iTunes and other crap every podcast asks you to do. (But we love that you do it!)   Artwork by Ray Martindale Opening tune and clips by Adam Lord

In this episode, Nate and Matt travel east with Satyajit Ray's 1955 classic "Pather Panchali." In this case, mispronouncing names does not equal disrespect.

Pather Panchali translates into English as Song of the Road, but the production was so arduous and fortuitous it should be called Song of Miracles. The post 326. Pather Panchali appeared first on Steven Benedict.

Part 1: Zach, Jessica and Dylan discuss films films they saw this week, including: Hearts Beat Loud, No Regrets for our Youth, Americathon and The Spirit of the Beehive.Part 2 (36:40) : The group continues their Young Critics Watch Old Movies series with 1955's Pather Panchali and are joined by Girish Shambu. Girish wrote about the film in 2015 for the Criterion Collection.See movies discussed in this episode here.Keep up with Cinematary with our weekly newsletterListen to episodes using Radio PublicFacebook: www.facebook.com/cinemataryTwitter: twitter.com/cinemataryLetterboxd: letterboxd.com/cinematary/Mixcloud: www.mixcloud.com/Cinematary/Stitcher Radio: www.stitcher.com/podcast/cinematary-2★ Support this podcast on Patreon ★

Bound (1996) – Pather Panchali (1955) – Solo: A Star Wars Story (2018)

Hey folks! After a little bit of a sabbatical BOP is back to talk about more movies and decidedly less movie things. We start it off with Isle of Dogs, Ready Player One, Annihilation, and more before getting into Jonny's pick for Movie of the Month, Pather Panchali! Have a question for us? Send it over to crosstawk@gmail.com or to Twitter(@crosstawk) and be sure to head to iTunes to leave us a rating and review. See ya next time!

Der erste Teil der indischen Trilogie um Apu handelt von Armut, Verlust und Tod. Die Familie Roy wird immer wieder ihrem Schicksal ausgesetzt und der vernachlässigende Vatter und die desillusionierte Mutter tragen ihr Übriges dazu bei das Leben der Kinder … Weiterlesen →

Erin and Paul review two modern-day riffs on Alfred Hitchcock's REAR WINDOW: Brian De Palma's 1984 driller-killer thriller BODY DOUBLE, and D.J. Caruso's 2007 house-arrest sleeper hit DISTURBIA. Plus: our quick takes on VALERIAN AND THE CITY OF A THOUSAND PLANETS, DUNKIRK, WAR FOR THE PLANET OF THE APES, and PATHER PANCHALI.

This week on the InSession Film Podcast, we discuss the latest film to hit the Marvel Cinematic Universe in Disney's (& Sony's) latest SPIDER-MAN: HOMECOMING. Inspired by that film, we also talk about our favorite adolescent heroes in film, which led to a fun debate over the definition of "adolescent" and what it meant for our Top 3 this week. And finally, we start our Satyajit Ray Movie Series with the first film in the Apu Trilogy, PATHER PANCHALI.   - Review: Spider-Man: Homecoming (5:44)   - Top 3 Adolescent Heroes (48:10)   - Satyajit Ray Movie Series: Pather Panchali (1:28:37)   Thanks for listening and be sure to subscribe on iTunes, Google Play, Stitcher, Soundcloud or TuneIn Radio!   iTunes: https://itunes.apple.com/us/podcast/insession-film-podcast/id605634337   Google Play: https://play.google.com/music/listen?authuser&u=0#/ps/It5foal422yoktioaclalk3ykyi   Stitcher: http://www.stitcher.com/podcast/insession-film   Soundcloud: https://soundcloud.com/insession-film   TuneIn Radio: http://tunein.com/radio/The-InSession-Film-Podcast-p522717/   Listen Now: http://insessionfilm.com/insession-film-podcasts-listen-now/

In this episode, I share my thoughts, feelings, and emotions about Satyajit Ray's monumental Apu Trilogy, which consists of Pather Panchali (1955), Aparajito (1956), and Apur Sansar (1959). Note: This episode contains SPOILERS and goes into specific plot details in the trilogy .Correction: I mention the Partition of India that happened in 1947. The Apu Trilogy is set well before that time. Apologies for the error.Consider making this podcast sustainable by supporting it on Patreon.Subscribe to the Her Head in Films Newsletter.Follow me on Facebook, Twitter, Instagram, and Tumblr.Original artwork by Dhiyanah HassanFull show notes:Listen to my episode on Pather PanchaliListen to my episode on The Big CityWatch how the Apu Trilogy was preserved and restored by The Criterion CollectionSee Ray receive an honorary Oscar in 1989, presented to him by Audrey Hepburn

In this episode, I talk about Satyajit Ray's 1955 masterpiece "Pather Panchali." Consider making this podcast sustainable by supporting it on Patreon. Subscribe to the Her Head in Films Newsletter. Follow me on Facebook, Twitter, Instagram, and Tumblr. Original artwork by Dhiyanah Hassan

On today's show, Lady P is joined by fellow podcasters, James Hancock and Mikhail Karadimov, to talk about Satyajit Ray's 1955 film PATHER PANCHALI. James and Mikhail are co-hosts of Wrong Reel, one of the most irreverent and profanity-laced film podcasts on the web. So they're a natural fit for a discussion about a sensitive portrait of a poverty stricken family living in rural West Bengali India. In true Wrong Reel style, they celebrate and send-up Ray's masterpiece in equal measure-- which is basically a long-winded way of saying the episode is NSFW. Then, the panel moves on to a discussion about child stars. Lady P thinks the naturalism of the kids is part of what makes PATHER PANCHALI a revelation, but listen up to see if James and Mikhail agree. Plus, everyone lists off their personal favorite performances given by preadolescence actors. They also lament a few instances where films are nearly derailed by the appearance of an overly precocious child.

We finally dig into Making a Murderer and pay tribute to David Bowie and Alan Rickman with retro reviews of Galaxy Quest and The Man Who Fell to Earth plus we also discuss the 2016 Oscar nominations, Love and Mercy, Crazy Love, Heat and Pather Panchali.

We finally dig into Making a Murderer and pay tribute to David Bowie and Alan Rickman with retro reviews of Galaxy Quest and The Man Who Fell to Earth plus we also discuss the 2016 Oscar nominations, Love and Mercy, Crazy Love, Heat and Pather Panchali.

Tariq Ali discusses Satyajit Ray's 1955 film Pather Panchali (Song of the Little Road) 60 years on. Rana Mitter is also joined by novelist Sunjeev Sahota and Neil Bartlett.

Adam and Josh discuss the first film in their (long-awaited) Satyajit Ray Marathon – Ray's breathtaking and heartbreaking 1955 debut, PATHER PANCHALI. 0-22:50 – Review: Pather Panchali LINKS - Josh on "Pather Panchali" Learn more about your ad choices. Visit megaphone.fm/adchoices