Filmmaker Sally Potter discusses a few of her favorite movies with hosts Josh Olson and Joe Dante.
Show Notes: Movies Referenced In This Episode
Orlando (1992)
Look At Me (2022)
The Roads Not Taken (2020)
Singin’ In The Rain (1952) – John Landis’s trailer commentary
On The Town (1949)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review
Whisky Galore! (1949) – Charlie Largent’s Blu-ray review
Battleship Potemkin (1925)
8 ½ (1963) – Allan Arkush’s trailer commentary
Monsieur Hulot’s Holiday (1953)
Jules and Jim (1962) – Michael Peyser’s trailer commentary
Au Hasard Balthazar (1966) – Charlie Largent’s Criterion Blu-ray review
Persona (1966)
On The Waterfront (1954) – John Badham’s trailer commentary
Sweet Smell Of Success (1957)
Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
Come And See (1985) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Cranes Are...
Show Notes: Movies Referenced In This Episode
Orlando (1992)
Look At Me (2022)
The Roads Not Taken (2020)
Singin’ In The Rain (1952) – John Landis’s trailer commentary
On The Town (1949)
Seven Brides For Seven Brothers (1954) – John Landis’s trailer commentary, Glenn Erickson’s Blu-ray review
Whisky Galore! (1949) – Charlie Largent’s Blu-ray review
Battleship Potemkin (1925)
8 ½ (1963) – Allan Arkush’s trailer commentary
Monsieur Hulot’s Holiday (1953)
Jules and Jim (1962) – Michael Peyser’s trailer commentary
Au Hasard Balthazar (1966) – Charlie Largent’s Criterion Blu-ray review
Persona (1966)
On The Waterfront (1954) – John Badham’s trailer commentary
Sweet Smell Of Success (1957)
Citizen Kane (1941) – John Landis’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Third Man (1949) – George Hickenlooper’s trailer commentary, Randy Fuller’s wine pairings
Come And See (1985) – Larry Karaszewski’s trailer commentary, Glenn Erickson’s Criterion Blu-ray review
The Cranes Are...
- 11/8/2022
- by Kris Millsap
- Trailers from Hell
Bengaluru, May 31 (Ians) Mensa Brands, a startup by former Myntra CEO Ananth Narayanan, on Monday said it has raised nearly $50 million in Series A round led by Accel Partners, Falcon Edge Capital and Norwest Venture Partners.
Over the next three years, Mensa will acquire over 50 brands across categories including home, garden, apparel, personal care and beauty, the company said in a statement.
The funding round also saw participation from angel investors such as Kunal Shah, Mukesh Bansal, Rahul Mehta of Dst Global and Scott Shleifer of Tiger Global.
Additionally, debt financing facilities from Alteria Capital and InnoVen Capital are also secured, said the company.
"Scaling digital brands from India is a large opportunity. Incredibly excited and passionate about partnering with terrific founders and helping scale their brands globally. Having seen this first hand at Myntra and Medlife, we know the effort it takes to scale a brand digitally," said Narayanan.
Over the next three years, Mensa will acquire over 50 brands across categories including home, garden, apparel, personal care and beauty, the company said in a statement.
The funding round also saw participation from angel investors such as Kunal Shah, Mukesh Bansal, Rahul Mehta of Dst Global and Scott Shleifer of Tiger Global.
Additionally, debt financing facilities from Alteria Capital and InnoVen Capital are also secured, said the company.
"Scaling digital brands from India is a large opportunity. Incredibly excited and passionate about partnering with terrific founders and helping scale their brands globally. Having seen this first hand at Myntra and Medlife, we know the effort it takes to scale a brand digitally," said Narayanan.
- 5/31/2021
- by Glamsham Bureau
- GlamSham
Beyond The Clouds
Introducing Ishaan Khatter, Malavika Mohanan
Directed by Majidi Majidi
There came a time in this cyclonic tale of squalor, despair and redemption where I thought I’d simply be blown away by the shrillness of the drama. Majid Majidi pulls out all stops to show us the underbelly of Mumbai, warts, moles and all.
The camera pans the suffocating crowds with easy grace, embracing the bizarre bazaar of racketeering and low-living with a kind of sighing interjection that is the opposite of hopelessness. Admittedly cinematographer Anil Mehta does for Majid Majidi’s Mumbai what Subrata Mitra did to Satyajit Ray’s Pather Panchali.
Without romanticizing the despair he shoots the frames with a beam of optimism.
And Dhobi Ghat never looked more intriguing. There is a key scene of sexual violence silhouetted against the flapping white bed sheets spread out for drying. This would have looked laughably...
Introducing Ishaan Khatter, Malavika Mohanan
Directed by Majidi Majidi
There came a time in this cyclonic tale of squalor, despair and redemption where I thought I’d simply be blown away by the shrillness of the drama. Majid Majidi pulls out all stops to show us the underbelly of Mumbai, warts, moles and all.
The camera pans the suffocating crowds with easy grace, embracing the bizarre bazaar of racketeering and low-living with a kind of sighing interjection that is the opposite of hopelessness. Admittedly cinematographer Anil Mehta does for Majid Majidi’s Mumbai what Subrata Mitra did to Satyajit Ray’s Pather Panchali.
Without romanticizing the despair he shoots the frames with a beam of optimism.
And Dhobi Ghat never looked more intriguing. There is a key scene of sexual violence silhouetted against the flapping white bed sheets spread out for drying. This would have looked laughably...
- 4/18/2018
- by Subhash K Jha
- Bollyspice
Santosh Sivan talks about watching Satyajit Ray's Charulata for the first time at Ftii, Pune, and how he was bowled over by the 'timeless' quality of Subrata Mitra's cinematography. He also says his work on Mani Ratnam's 'Iruvar' was a kind of tribute.
- 11/7/2017
- Film Companion
“Songs Of Humanity”
By Raymond Benson
I’ll bet many of you cinephiles out there have heard of Indian filmmaker Satyajit Ray’s acclaimed trilogy of films from the 1950s (Pather Panchali, aka Song of the Little Road, 1955; Aparajito, aka The Unvanquished, 1956; and Apur Sansar, aka The World of Apu, 1959), but have never actually seen them. Here is your chance to rectify that egregious error. Quite simply put, anyone interested in film history needs to have this trio of motion pictures under the belt.
Satyajit Ray, who received an Honorary Oscar for Lifetime Achievement in 1992, began his career as an illustrator of books. One of these was Pather Panchali, a classic of Bengali literature (1928) written by Bibhutibushan Bandyopadhyay, and its sequel, Aparajito (1932). They comprise the story of the growth of a boy from infancy to adulthood over the course of twenty-five years or so (from the 1910s to the 1930s...
By Raymond Benson
I’ll bet many of you cinephiles out there have heard of Indian filmmaker Satyajit Ray’s acclaimed trilogy of films from the 1950s (Pather Panchali, aka Song of the Little Road, 1955; Aparajito, aka The Unvanquished, 1956; and Apur Sansar, aka The World of Apu, 1959), but have never actually seen them. Here is your chance to rectify that egregious error. Quite simply put, anyone interested in film history needs to have this trio of motion pictures under the belt.
Satyajit Ray, who received an Honorary Oscar for Lifetime Achievement in 1992, began his career as an illustrator of books. One of these was Pather Panchali, a classic of Bengali literature (1928) written by Bibhutibushan Bandyopadhyay, and its sequel, Aparajito (1932). They comprise the story of the growth of a boy from infancy to adulthood over the course of twenty-five years or so (from the 1910s to the 1930s...
- 11/28/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
Pather Panchali/Aparajito/Apur Sansar
Written and directed by Satyajit Ray
India, 1955/1956/1959
The Criterion Collection set of Satyajit Ray’s Apu trilogy has been one of the more eagerly anticipated releases in recent years. These masterworks of world cinema, widely acclaimed for decades, have been long overdue a much-deserved superior treatment on home video. Now though, benefitting from a 4K digital restoration by the Academy Film Archive and L’Immagine Ritrovata, and with a wealth of bonus features, these exceptional films are available in the superb presentation so many have been waiting for.
But to start at the source, such a treatment would not have been warranted in the first place were the films themselves not so remarkable, and that they most certainly are. As no less an authority than Akira Kurosawa puts it, “To have not seen the films of Ray is to have lived in the world without...
Written and directed by Satyajit Ray
India, 1955/1956/1959
The Criterion Collection set of Satyajit Ray’s Apu trilogy has been one of the more eagerly anticipated releases in recent years. These masterworks of world cinema, widely acclaimed for decades, have been long overdue a much-deserved superior treatment on home video. Now though, benefitting from a 4K digital restoration by the Academy Film Archive and L’Immagine Ritrovata, and with a wealth of bonus features, these exceptional films are available in the superb presentation so many have been waiting for.
But to start at the source, such a treatment would not have been warranted in the first place were the films themselves not so remarkable, and that they most certainly are. As no less an authority than Akira Kurosawa puts it, “To have not seen the films of Ray is to have lived in the world without...
- 11/24/2015
- by Jeremy Carr
- SoundOnSight
When talking about the great cinematographers of India, one name that has to be at the top is Santosh Sivan. He has won over 13 National Awards, was recently honored with a Padma Shri and also is the first Indian cinematographer to be inducted into the American Society of Cinematographers. Not only does he focus the lens and set the frame in both Indian and English films, he also has sat in the director’s chair to create his own magic. His credits include Dil Se, Asoka, The Terrorist, Before the Rains, Thalapathi, Raavan, Iruvar, Roja, Phir Bhi Dil Hai Hindustani, and more.
As part of the London Indian Film Festival on July 11th, Mr. Sivan will be giving a special master class. I was lucky enough to chat with Mr. Sivan about his career, and it was a fascinating conversation covering many different and interesting topics. Enjoy!
Why films and...
As part of the London Indian Film Festival on July 11th, Mr. Sivan will be giving a special master class. I was lucky enough to chat with Mr. Sivan about his career, and it was a fascinating conversation covering many different and interesting topics. Enjoy!
Why films and...
- 7/10/2014
- by Stacey Yount
- Bollyspice
His greatest films have an ability to depict realistic situations, and remain alive to both their political and aesthetic dimensions
"Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon," said Akira Kurosawa. Well, now's your chance. Over the next few weeks, visitors to the British Film Institute will be able to watch some of Satyajit Ray's best work: Days and Nights in the Forest, The Chess Players, Company Limited, The Home and The World. What makes them so good? Partly his collective of collaborators: extraordinary actors such as Soumitra Chatterjee and Sharmila Tagore, the cinematographer Subrata Mitra. But his greatest films are marked by an ability to depict realistic situations – the hopelessness of a graduate's job hunt, say, or the hardships of life in a Bengali village – and remain alive to both their political and aesthetic dimensions. Ray...
"Not to have seen the cinema of Ray means existing in the world without seeing the sun or the moon," said Akira Kurosawa. Well, now's your chance. Over the next few weeks, visitors to the British Film Institute will be able to watch some of Satyajit Ray's best work: Days and Nights in the Forest, The Chess Players, Company Limited, The Home and The World. What makes them so good? Partly his collective of collaborators: extraordinary actors such as Soumitra Chatterjee and Sharmila Tagore, the cinematographer Subrata Mitra. But his greatest films are marked by an ability to depict realistic situations – the hopelessness of a graduate's job hunt, say, or the hardships of life in a Bengali village – and remain alive to both their political and aesthetic dimensions. Ray...
- 9/11/2013
- by Editorial
- The Guardian - Film News
Satyajit Ray's enduring 1963 masterpiece about one woman's struggle for independence is back on the big screen
Satyajit Ray, who died in 1992 at the age of 70, is one of the giants of world cinema. The son of a prominent Bengali literary figure, he was an accomplished writer, composer, editor and artist as well as a great movie director. His passionate interest in the cinema developed early on, and shortly after the second world war he accompanied Jean Renoir when he travelled to India to scout locations for The River. Subsequently he wrote a wonderfully perceptive article about this experience for Sequence, the film magazine edited by Lindsay Anderson, Gavin Lambert and Karel Reisz.
During a visit to Europe to work in the London headquarters of his Calcutta advertising agency, he saw Vittorio De Sica's Bicycle Thieves and decided that on his return he wanted to make a movie in...
Satyajit Ray, who died in 1992 at the age of 70, is one of the giants of world cinema. The son of a prominent Bengali literary figure, he was an accomplished writer, composer, editor and artist as well as a great movie director. His passionate interest in the cinema developed early on, and shortly after the second world war he accompanied Jean Renoir when he travelled to India to scout locations for The River. Subsequently he wrote a wonderfully perceptive article about this experience for Sequence, the film magazine edited by Lindsay Anderson, Gavin Lambert and Karel Reisz.
During a visit to Europe to work in the London headquarters of his Calcutta advertising agency, he saw Vittorio De Sica's Bicycle Thieves and decided that on his return he wanted to make a movie in...
- 8/17/2013
- by Philip French
- The Guardian - Film News
Criterion brings two of auteur Satyajit Ray’s early 60s works to the collection this month with Charulata (1964) and The Big City (1963), both starring Madhabi Mukherjee in phenomenal performances. While both explore women’s lives in a rigidly male dominated world, it’s the earlier film that stands as Ray’s first look at contemporary life in his native Kolkata. While his nine previous films were either period pieces or set outside of the city (Charulata, in fact, sees him returning to period, set in 1870s India), the coalescence of budget and talent finally brought his modern times project to fruition, which he had apparently been wanting to make since his 1955 Palme d’Or winning debut, Pather Panchali. Beyond being simply the story of a woman, Ray constructs an intimate character study that examines an uncomfortably changing social climate, economic pressures, racial injustice, and the moral obligation to do the right thing.
- 8/6/2013
- by Nicholas Bell
- IONCINEMA.com
Chicago – In between the second and third installments of his infamous “Apu Trilogy,” Bengali master of cinema Satyajit Ray made two films that were striking departures from his signature portrait of poverty-stricken youth. The first was 1958’s failed comedy “The Philosopher’s Stone” (sorry, Potterheads, no relation) and the second was 1959’s masterpiece, “The Music Room.”
This landmark classic is brought to electrifying life by Criterion’s magnificent digital restoration. The renewed picture quality allows Ray’s elegant visual poetry to be savored like never before. Without changing locations or resorting to heavy-handed symbolism, Ray is able to explore the decline of feudalism by depicting the life of a once-wealthy aristocrat whose bloodline is literally washed away by the ever-encroaching waters of the Ganges.
Blu-Ray Rating: 5.0/5.0
Unlike Indian filmmakers of the day, Ray sought to integrate action and music into his narrative rather than feature them as separate entities.
This landmark classic is brought to electrifying life by Criterion’s magnificent digital restoration. The renewed picture quality allows Ray’s elegant visual poetry to be savored like never before. Without changing locations or resorting to heavy-handed symbolism, Ray is able to explore the decline of feudalism by depicting the life of a once-wealthy aristocrat whose bloodline is literally washed away by the ever-encroaching waters of the Ganges.
Blu-Ray Rating: 5.0/5.0
Unlike Indian filmmakers of the day, Ray sought to integrate action and music into his narrative rather than feature them as separate entities.
- 7/27/2011
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Satyajit Ray, 1955
It was the birth of a cinema, certainly the birth of a new kind of Indian cinema. On the first day of the shoot, the director had never directed, the cameraman had never shot a scene, the children in the leading roles hadn't been tested and the soundtrack was composed by a then obscure sitarist (the great Ravi Shankar). Perhaps this inexperience gave everyone involved the freedom to create something new. Certainly director Satyajit Ray and cinematographer Subrata Mitra showed a miraculous gift for lighting scenes, coaxing intimate and utterly convincing performances from children and other non-professional actors, and allowing narrative to grow seamlessly – just as happened in the best of the films by Ray's western mentor, Jean Renoir.
The story seems superficially insubstantial. A small boy, Apu (Subir Bannergee), is living with his impoverished Brahmin family in rural west Bengal. His father, a priest lost in...
It was the birth of a cinema, certainly the birth of a new kind of Indian cinema. On the first day of the shoot, the director had never directed, the cameraman had never shot a scene, the children in the leading roles hadn't been tested and the soundtrack was composed by a then obscure sitarist (the great Ravi Shankar). Perhaps this inexperience gave everyone involved the freedom to create something new. Certainly director Satyajit Ray and cinematographer Subrata Mitra showed a miraculous gift for lighting scenes, coaxing intimate and utterly convincing performances from children and other non-professional actors, and allowing narrative to grow seamlessly – just as happened in the best of the films by Ray's western mentor, Jean Renoir.
The story seems superficially insubstantial. A small boy, Apu (Subir Bannergee), is living with his impoverished Brahmin family in rural west Bengal. His father, a priest lost in...
- 10/20/2010
- by Stuart Jeffries
- The Guardian - Film News
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