Changes between Initial Version and Version 1 of Genesis


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Timestamp:
Jul 17, 2012, 7:44:30 PM (8 years ago)
Author:
Trupti
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  • Genesis

    v1 v1  
     1'''Genesis''' 
     2 
     3 
     41986 109’ col Hindi 
     5d/co-p/sc Mrinal Sen pc Scarabee Films (Paris), 
     6Mrinal Sen Prod. (Calcutta), Les Films de la 
     7Dreve (Brussels), Cactus Films (Zurich) 
     8co-pc Film Four (London), SSR (Berne) 
     9co-p Marie Pascale Osterrieth, Palaniappan 
     10Ramasamy, Eliane Stutterheim, Jean-Jacques 
     11Andrien co-sc Mohit Chattopadhay st Samaresh 
     12Bose dial Surendra P. Singh, Umashankar 
     13Pathik c Carlo Varini m Ravi Shankar 
     14lp Shabana Azmi, Naseeruddin Shah, Om 
     15Puri, M.K. Raina 
     16 
     17 
     18Whereas Sen’s best work derived much 
     19strength from being rooted in a specific time 
     20and place, giving historical resonances to the 
     21particular shapes of the conflicts he depicted, 
     22this international co-production mostly 
     23financed by European television channels is set 
     24in a purely symbolic and timeless space: some 
     25ruins in the middle of a desert. A farmer (Shah) 
     26and a weaver (Puri) exchange their products 
     27for goods provided by a regularly passing 
     28trader (Raina). A woman (Azmi) arrives, 
     29focusing the two men’s desires but also urging 
     30them to obtain more recompense from the 
     31trader. After a visit to a village fair (exuberantly 
     32shot with telling details reminiscent of Sen’s 
     33earlier work) the two men become more 
     34acquisitive and jealousies break out over the 
     35now pregnant woman who simply ups and 
     36leaves. As the two men fight each other, the 
     37trader’s men attack and enslave the workers 
     38again. The film closes with shots of bulldozers 
     39and modern machinery clearing the ground. 
     40Sen’s timeless parable about the genesis of 
     41capitalism, although acted with conviction by 
     42the cast, suffers from its abstraction, 
     43transforming the characters into stereotypes 
     44and reducing the complexities of history to 
     45simplified generalities. G. Chakravorty Spivak 
     46(1993) provides a postcolonial reading of the 
     47film. 
     48 
     49[[Film]]