| 1 | '''Genesis''' |
| 2 | |
| 3 | |
| 4 | 1986 109’ col Hindi |
| 5 | d/co-p/sc Mrinal Sen pc Scarabee Films (Paris), |
| 6 | Mrinal Sen Prod. (Calcutta), Les Films de la |
| 7 | Dreve (Brussels), Cactus Films (Zurich) |
| 8 | co-pc Film Four (London), SSR (Berne) |
| 9 | co-p Marie Pascale Osterrieth, Palaniappan |
| 10 | Ramasamy, Eliane Stutterheim, Jean-Jacques |
| 11 | Andrien co-sc Mohit Chattopadhay st Samaresh |
| 12 | Bose dial Surendra P. Singh, Umashankar |
| 13 | Pathik c Carlo Varini m Ravi Shankar |
| 14 | lp Shabana Azmi, Naseeruddin Shah, Om |
| 15 | Puri, M.K. Raina |
| 16 | |
| 17 | |
| 18 | Whereas Sen’s best work derived much |
| 19 | strength from being rooted in a specific time |
| 20 | and place, giving historical resonances to the |
| 21 | particular shapes of the conflicts he depicted, |
| 22 | this international co-production mostly |
| 23 | financed by European television channels is set |
| 24 | in a purely symbolic and timeless space: some |
| 25 | ruins in the middle of a desert. A farmer (Shah) |
| 26 | and a weaver (Puri) exchange their products |
| 27 | for goods provided by a regularly passing |
| 28 | trader (Raina). A woman (Azmi) arrives, |
| 29 | focusing the two men’s desires but also urging |
| 30 | them to obtain more recompense from the |
| 31 | trader. After a visit to a village fair (exuberantly |
| 32 | shot with telling details reminiscent of Sen’s |
| 33 | earlier work) the two men become more |
| 34 | acquisitive and jealousies break out over the |
| 35 | now pregnant woman who simply ups and |
| 36 | leaves. As the two men fight each other, the |
| 37 | trader’s men attack and enslave the workers |
| 38 | again. The film closes with shots of bulldozers |
| 39 | and modern machinery clearing the ground. |
| 40 | Sen’s timeless parable about the genesis of |
| 41 | capitalism, although acted with conviction by |
| 42 | the cast, suffers from its abstraction, |
| 43 | transforming the characters into stereotypes |
| 44 | and reducing the complexities of history to |
| 45 | simplified generalities. G. Chakravorty Spivak |
| 46 | (1993) provides a postcolonial reading of the |
| 47 | film. |
| 48 | |
| 49 | [[Film]] |