Sometimes, after I print film still images, I want to surround me for a few days and months after watching them.Filming Between two waters I collected some stills from it Songs on the road, From Satyajit Ray, Then stick them on the wall of the kitchen to see if I will be infected or due to penetration. He has no intention of imitating or copying them, but he does want to keep in mind their example, that is, the special dignity and nobility that Ray gives to all the characters he shoots.
What fascinates me most is Song of the Road (Ray’s debut, and Arp trilogy Can be seen in Filmin) This is a portrait technique that novice filmmakers already possess. Usually, I want movie magazines to add portraits to the genre categories they use to classify movies, and next to thrillers, comedies, horror movies, and musicals, we can read “landscape”, “sketch”, “natural portrait”.
In his portraits, Ray always seems to look directly at the character’s face as usual, without filters or formal tricks. But its transparency is misleading and will confuse film students who think that placing the camera in front of the actors is sufficient: In Ray, choose the distance, frame value, camera angle and lighting work for each aircraft.there Eisenstein He tried to make the peasants noble through angles and low-angle shots. These angles and angles highlighted the interests of the subjects and the filmmakers themselves. Lei achieved similar effects with unlimited discretion, but the director did not appear Between the audience and the characters.
In this sense, discover how Lei repeatedly placed the protagonist’s mother in a position that forced her to lift, lift and open her eyes, thereby providing us with the greatest possible gaze surface, (this is the song “more eyes Eyes”, which is very enlightening) said), just like an open window. A very beautiful resource, at the same time extremely simple and natural, with no connotation at all, just like an invisible signature, as effective as a leaf.
I would like to invite you to watch how Ray alternately uses different proportions in the frames, from the most intimate and closest (close-up of Apu’s eyes, the light of the death scene) to general shots of collective scenes, which act as the social stratification and caste system Portrait (although we can accept it), which is unexpectedly close and similar to the characteristics of our contemporary Western cities.
Lei’s main teaching is still that a movie can be a song, so it can be said that it is hand in hand, word of mouth, widely popular, and no one cares about it. Perhaps this is why Lei makes the director’s film look like a piece of cake. Maybe your work is like a soft wind blowing and whispering.
*This article is an edited and translated version of Isaki Lacuesta’s speech on Satyajit Ray at the Catalan Film Festival.