- (via verrlust)
In contrast to the earlier films, with their emphasis on traditional spaces and beckoning futures, Apur Sansar suggests a bid for telos, an unravelling of past desires within the armature of the present. With its tramways, coffee houses, contiguous railway lines and everyday bustle, it produces an image of the contemporary, but as a time which can never be settled, and must give way before unspecifiable futures. It is as if this is the symbolic register, the place of narrative authorization, through which all previous representations can be made sense of, where they were destined to arrive. But, at the point of arrival, the present slips, lacks a sense of possibility, and can only project itself forward in time.
— Ravi Vasudevan, Nationhood, Authenticity and Realism in Indian cinema: The double take of modernism in the work of Satyajit Ray
To say that I have been obsessed with Smita Patil for 25 years would be an understatement. But that’s the only way to describe my love affair with an actress whose shocking death in 1986 left an inexplicable void in my life. I’ve spent the next 23 years gathering any scrap of information I can get hold of about her and watching her films over and over again to rationalise my fixation. Yet, when it comes to Smita, reason fails. [X]
Smita Patil | 10.17.1955–12.13.1986
o M G 1) yung uttara baokar looks exactly like my favorite grandaunt omfggg 2) she looks so good??? omg like i only remember her in shows like jassi jaissi ko nahin and mrinal sen’s ek din achanak oh and amrish puri’s wife in sardari begum but shes so stunning in this (n happy for now !!!)