Скачать с ютуб Komal Gandhar - Bengali - Supriya Choudhury, Abanish Banerjee в хорошем качестве

Komal Gandhar - Bengali - Supriya Choudhury, Abanish Banerjee

Komal Gandhar, 1961 Director: Ritwik Ghatak Music Director: Jyotirindra Moitra Lyrics: Rabindranath Tagore, Jyotirindra Moitra, Salil Chowdhury, Bijan Bhattcharya, Sukanta Bhattacharya Playback: Hemanga Biswas, Sumitra Sen, Bijon Bhattcharya, Jyotirindra Moitra, Montu Ghosh, Ratna Sarkar, Srijata Chakraborty, Ranendranarayan Roychowdhury, Chitra Mondal Cast: Supriya Choudhury ... Ansuya Abanish Banerjee ... Bhrigu (as Abanish Bandyopadhyay) Anil Chatterjee ... Rishi (as Anil Chattopadhyay) Satindra Bhattacharya ... Shibnath Chitra Mandal ... Jaya Many thanks to ashok48393 from here on YouTube who provided the source. Since it's not yet on YouTube (why not, you might wonder?), I hope his efforts to provide it and my efforts to improve on the source slightly will be appreciated. Thanks, Ashok! English subtitles included. Unfortunately, they were 'burned into' or 'hardcoded into' the source. They aren't selectable and are permanent. The source was awful. Sometimes there are several seconds of a static screen, some from the source, some by me when the picture deteriorated too badly to fix. In addition, there were periods of video with large black bars above or below when the picture was 'shifted' too high or low. So, I removed the black bars and replaced it with a centered picture, but with blurry top and bottom. There are other places where the picture jumps and down uncontrollably, beyond my poor powers to fix it. And the makers of this travesty had the nerve to claim in a text screen before the film began that it had been 'restored'. That's a lie. it's just from a poor quality VHS tape badly digitized and converted to VCD. The Encyclopedia of Indian Cinema says this about the film: Ghatak’s innovatively filmed critique of both the IPTA style of radical theatre and of Partition caused a major political controversy in Bengal, apparently prompting the director to look for work outside the state. Set in the contentious 50s, the film’s plot is structured around the rivalry of two radical theatre groups. One is led by Bhrigu (A. Bannerjee), the other by Shanta (G. De), while Shanta’s niece Ansuya (S. Choudhury) participates in Bhrigu’s work to the disapproval of her own group. When the two groups join together for a production of Shakuntala (Tagore’s version of the story functioning as a constant reference within the film), Shanta deliberately sabotages it. Bhrigu and Ansuya discover they are both refugees separated from their country (Bangladesh) by a river and they fall in love. Eventually Ansuya, scheduled to marry Samar and move to France, decides to stay with Bhrigu. As in Ghatak’s earlier Meghe Dhaka Tara (1960), the story is interrupted by sound effects including ancient marriage songs, sounds of gunshots and sirens. Music and sound effects mark particularly emotive political moments, as in one of the film’s classic shots: a tracking movement along a disused railway ending abruptly at the national border with a fishermen’s chant rising to a powerful crescendo. Appropriately for a film dealing with both political and geographical division, the most intense interactions of sound and image occur in spaces which simultaneously divide and connect, as in the aforementioned tracking shot or in the 360-degree camera pans showing a theatre group singing in boats on the river Padma which marks the border between India and Bangladesh. Spatial divisions are further elaborated as a critique of the theatre groups with their cramped and fragmented proscenium spaces and cavernous rehearsal rooms and the claustrophobic, expressionistically lit urban scenes. The overall effect, as noted by Kumar Shahani, is the creation of a space-in-formation, a dynamic though static-looking space animated by history. Here's a playlist of four of the main songs:    • Komal Gandhar - Bengali - Songs   COPYRIGHT INFORMATION: The Indian copyright law: http://copyright.gov.in/Documents/Cop... INDIAN COPYRIGHT ACT, 1957 CHAPTER I Preliminary (f) "cinematograph film" means any work of visual recording on any medium produced through a process from which a moving image may be produced by any means and includes a sound recording accompanying such visual recording and cinematograph shall be construed as including any work produced by any process analogous to cinematography including video films.” "CHAPTER V Term of Copyright 26.Term of copyright in cinematograph films. In the case of a cinematograph film, copyright shall subsist until sixty years from the beginning of the calendar year next following the year in which the film is published." My words: Indian film copyright (including video, dialog, music, lyrics, songs) lasts for sixty years and any film and its songs released more than sixty years ago is in the public domain. No extensions, no renewals, no exceptions. This film is no longer protected by copyright.