Sun August 31, 2014
The Stranger (Satyajit Ray; India, 1991)
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at PFA Theater
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Introduction with Dilip Basu, research professor of humanities and founding director of the Satyajit Ray Film and Study Center at UC Santa Cruz
A comfortable Calcutta couple is visited by a seemingly long-lost uncle in Ray’s last film, a comedy of manners, gentle parable of greed, and “an extraordinary summing up of so much of Ray's worldview” (Film Society of Lincoln Center). Anila’s Uncle Manomohan was the family black sheep who went overseas in 1955 and was never heard from again; now he’s shown up on her family’s doorstep, and her husband Sudhindra is none too amused. Seeming genuine but with a strange, almost mystical air, the uncle ingratiates himself into the household, and soon challenges their notions of hospitality, culture, and civilization. “Its style and its story are based on the principle that knowledge of people can be acquired only gradually and tentatively,” noted The New Yorker, “by means of a patient accumulation of intimate experience.”
• Written by Ray. Photographed by Barun Raha. With Deepankar Dey, Utpal Dutt, Mamata Shankar. (120 mins, In Bengali with English subtitles, Color, 35mm, From Satyajit Ray Film and Study Center, courtesy Academy Film Archive, permission Janus Films/Criterion Collection)
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A comfortable Calcutta couple is visited by a seemingly long-lost uncle in Ray’s last film, a comedy of manners, gentle parable of greed, and “an extraordinary summing up of so much of Ray's worldview” (Film Society of Lincoln Center). Anila’s Uncle Manomohan was the family black sheep who went overseas in 1955 and was never heard from again; now he’s shown up on her family’s doorstep, and her husband Sudhindra is none too amused. Seeming genuine but with a strange, almost mystical air, the uncle ingratiates himself into the household, and soon challenges their notions of hospitality, culture, and civilization. “Its style and its story are based on the principle that knowledge of people can be acquired only gradually and tentatively,” noted The New Yorker, “by means of a patient accumulation of intimate experience.”
• Written by Ray. Photographed by Barun Raha. With Deepankar Dey, Utpal Dutt, Mamata Shankar. (120 mins, In Bengali with English subtitles, Color, 35mm, From Satyajit Ray Film and Study Center, courtesy Academy Film Archive, permission Janus Films/Criterion Collection)
Introduction with Dilip Basu, research professor of humanities and founding director of the Satyajit Ray Film and Study Center at UC Santa Cruz
A comfortable Calcutta couple is visited by a seemingly long-lost uncle in Ray’s last film, a comedy of manners, gentle parable of greed, and “an extraordinary summing up of so much of Ray's worldview” (Film Society of Lincoln Center). Anila’s Uncle Manomohan was the family black sheep who went overseas in 1955 and was never heard from again; now he’s shown up on her family’s doorstep, and her husband Sudhindra is none too amused. Seeming genuine but with a strange, almost mystical air, the uncle ingratiates himself into the household, and soon challenges their notions of hospitality, culture, and civilization. “Its style and its story are based on the principle that knowledge of people can be acquired only gradually and tentatively,” noted The New Yorker, “by means of a patient accumulation of intimate experience.”
• Written by Ray. Photographed by Barun Raha. With Deepankar Dey, Utpal Dutt, Mamata Shankar. (120 mins, In Bengali with English subtitles, Color, 35mm, From Satyajit Ray Film and Study Center, courtesy Academy Film Archive, permission Janus Films/Criterion Collection)
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A comfortable Calcutta couple is visited by a seemingly long-lost uncle in Ray’s last film, a comedy of manners, gentle parable of greed, and “an extraordinary summing up of so much of Ray's worldview” (Film Society of Lincoln Center). Anila’s Uncle Manomohan was the family black sheep who went overseas in 1955 and was never heard from again; now he’s shown up on her family’s doorstep, and her husband Sudhindra is none too amused. Seeming genuine but with a strange, almost mystical air, the uncle ingratiates himself into the household, and soon challenges their notions of hospitality, culture, and civilization. “Its style and its story are based on the principle that knowledge of people can be acquired only gradually and tentatively,” noted The New Yorker, “by means of a patient accumulation of intimate experience.”
• Written by Ray. Photographed by Barun Raha. With Deepankar Dey, Utpal Dutt, Mamata Shankar. (120 mins, In Bengali with English subtitles, Color, 35mm, From Satyajit Ray Film and Study Center, courtesy Academy Film Archive, permission Janus Films/Criterion Collection)
show less
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PFA Theater
2575 Bancroft Way, Berkeley, CA 94720
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