Ray’s Cinema.
Go down on one’s knees in the dust, into the heart of Indian reality and the human condition.
It is not just he statistical horrors in the Indian village but also a struggle to live. This makes us see them as one of us. He was a classicist; beauty was inseparable from truth and goodness in his work.
Pessimism recognizes the compulsion under which compromises are made with the evil. The face of evil is somewhat averted and we do not make a direct confrontation with it. As if we can view the present as a part of the past.
It is important to have good means to achieve good ends. His material happens to be Indian but the statements are of humanity. He sees people caught in the meshes of specific time and place, not as Indians, rest of the world seem affinity with him.
We are all most westernized not just in attire but also deeply in the mind, in its resolution of the conflict of tradition and modernity and its success in making one enrich the other. It has to be a successful synthesis, a new identity born of awareness both of tradition and of modernity.
In any work, a romantic, wandering-wondering philosophy of love without attachment in a life that constantly moves beyond joy and sorrow. It always flies a feet above earthly reality, seeing it close enough and yet remaining untouched by it. It is a flow in which loss and gains are two sides of the same coin, and the befitting goal of the human being is to love and yet remain detached, unshaken by sorrow and unrelated by happiness.
We live too much in myth, too little in fact.
A shot is beautiful only if it is right in its context, and this rightness has little to do with what appears to be beautiful to the eye.
Then we r no longer a kneeling in dust, I am an observer trying to absorb and understand a somewhat unfamiliar milieu charged with values foreign with my nature.
It takes time to see the true meaning behind things.
Go down on one’s knees in the dust, into the heart of Indian reality and the human condition.
It is not just he statistical horrors in the Indian village but also a struggle to live. This makes us see them as one of us. He was a classicist; beauty was inseparable from truth and goodness in his work.
Pessimism recognizes the compulsion under which compromises are made with the evil. The face of evil is somewhat averted and we do not make a direct confrontation with it. As if we can view the present as a part of the past.
It is important to have good means to achieve good ends. His material happens to be Indian but the statements are of humanity. He sees people caught in the meshes of specific time and place, not as Indians, rest of the world seem affinity with him.
We are all most westernized not just in attire but also deeply in the mind, in its resolution of the conflict of tradition and modernity and its success in making one enrich the other. It has to be a successful synthesis, a new identity born of awareness both of tradition and of modernity.
In any work, a romantic, wandering-wondering philosophy of love without attachment in a life that constantly moves beyond joy and sorrow. It always flies a feet above earthly reality, seeing it close enough and yet remaining untouched by it. It is a flow in which loss and gains are two sides of the same coin, and the befitting goal of the human being is to love and yet remain detached, unshaken by sorrow and unrelated by happiness.
We live too much in myth, too little in fact.
A shot is beautiful only if it is right in its context, and this rightness has little to do with what appears to be beautiful to the eye.
Then we r no longer a kneeling in dust, I am an observer trying to absorb and understand a somewhat unfamiliar milieu charged with values foreign with my nature.
It takes time to see the true meaning behind things.
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