“To have not seen the films of Ray is to have lived in the world without ever having seen the moon and the sun.” – Akira Kurosawa
During the second half of April, the Film Society of Lincoln Center (New York) will present the films of Satyajit Ray in First Light: Satyajit Ray from the Apu Trilogy to the Calcutta Trilogy (tickets). The series focuses on the first half of Ray’s career, including The Apu Trilogy, and will conclude with a conference at Columbia University.
Ray’s work inspired Wes Anderson’s The Darjeeling Limited. Tragically, The Apu Trilogy is out of print in the United States.
Image: Famous “Typewriter Sequence” from Merchant Ivory’s film Bombay Talkie (1970) featuring “Queen of the Nautch Girls” Helen and great Shashi Kapoor. The film is not the best from Merchant Ivory duo, but the sequence is definitely iconic.
Wes Anderson’s The Darjeeling Limited (2007) made the song somewhat of an international hit (editor’s note: did it?). Here is the song clip with Ismail Merchant, in a very Indian way, explaining the metaphor of “Fate Machine.”
The really fantastic film site The Auteurs is showing the films of Merchant Ivory, free of charge this month. The music and films of Merchant Ivory helped inspire The Darjeeling Limited.
Thanks to the dream team of American-born director James Ivory, Indian producer Ismail Merchant, and German-British screenwriter Ruth Prawer Jhabvala, Merchant-Ivory Productions set the standard for gorgeous period pieces and sophisticated literary adaptations. This month, The Criterion Collection presents six of them for free, ranging from Bollywood-tinged comedies to award-winning E. M. Forster adaptations.
(Just a reminder: Owen Wilson will be presenting tonight’s Top Ten List on the Late Show with David Letterman.)
From Sean, a Rushmore-inspired music video from Company of Thieves:
The debut music video from Company of Thieves, is inspired by Wes Anderson’s Rushmore. The video for the song “Oscar Wilde” was filmed at Sycamore Elementary School in Kokomo, Indiana, over the course of just one day in December 2008. It includes over 60 props which were mostly bought from flea markets and vintage stores. The video was shot on Kodak Vision3 500T 16mm film using an Eclair ACL camera with 12mm and 14mm lenses, with 23 lighting setups. The footage was digitally transferred to uncompressed 10 bit format and edited in Final Cut. If you like the song, it’s available for free download.
The Escaped Zoo Animals have a song titled “Duplex” on their new album that references Jack Whitman’s affinity for Volatire No. 6. You can check out their music on MySpace or iTunes .
Derek Hill is the author of the new book Charlie Kaufman and Hollywood’s Merry Band of Pranksters, Fabulists and Dreamers, now available in the U.K. (Amazon | Waterstone’s | Blackwell ) and out soon in the U.S. ( Amazon ). He has agreed to write several pieces for the Academy. This is part 2; Derek has decided to offer the section of the book on TDL in its entirety. Enjoy!
‘Is that symbolic? We. Haven’t. Located. Us. Yet!’
– Francis Whitman (Owen Wilson) has his mind blown when he realises that the train he and his brothers have been passengers on is lost.
Anderson has never been averse to addressing mortality head-on in his films, specifically the death of a spouse (Rushmore), parent (The Royal Tenenbaums) or child (The Life Aquatic with Steve Zissou). Although all of his films are ostensibly comedies, there has always been an element of the impermanence of things, of people, that has delicately coaxed an emotional resonance forth from the wackiness. Not particularly original or groundbreaking, but when one considers the frequently bathetic treatment of death in much of American mainstream cinema, Anderson’s unsentimental and realistic treatment of grief is a commendable aspect and intrusion upon his lucid, intensely fabricated theatricality. As much as Anderson has become a master of the elaborate multi-layered mise-en-scene, he also astutely understands the moment to drop back, allowing his characters to feel the brunt of their sorrow without excessive ornamentation. The Darjeeling Limited is as waggish as any of Anderson’s previous work. But at its core is the black hole of loss, the invisible thread that binds us as profoundly (if not more so) than birth.
I was curious and surprised to find a new citrus in my local produce store: sweet lime. Another variation on the citrus theme, sweet lime is a juicy, sweet rather than acidic fruit reminiscent in flavor of grapefruit and mandarin oranges.
In the film Darjeeling Limited, sweet lime was served as a refresher to passengers settling into their cars. I did some checking around (i.e. Wikipedia) and learned that India is one of the largest producers of sweet lime in the world, where it’s both consumed for fun and medicinal purposes.
I’ve never personally had any sweet lime juice there, but a survey of websites suggest that it’s mixed with some honey or sugar similar to lemonade for serving. If anyone has had this drink in India, where it’s called mousabi (musabi / mosabi), please comment and let it be known how it’s typically prepared.
Turning Sweet Lime into a Cocktail
Never one to stand on tradition when it comes to mixology, I juiced a few sweet limes and tried them in traditional citrus cocktails. If you come a across some sweet limes, try substituting some or all of the lemon or lime juice in your favorite recipe with sweet lime. You’ll need about one third of the total sugar than when using lemons, and it delivers an interesting, subtle twist.
I’m a gin person, so I tried came up with this recipe. Try it for yourself and see what you think!
The Sweet Lime Limited 2 ounces of gin
3 ounces sweet lime juice
2 Basil Leaves
1 ounce simple syrup (a.k.a. sugar water, a tablespoon of sugar or more to taste dissolved in a little warm water will do if you don’t have simple syrup handy)
Pinch of salt
Splash of Soda Water
So I’m late. In more than one way, actually. First and foremost, if you’ve been checking my movie log (and I know you have), then you will notice that I just recently saw The Darjeeling Limited. Forgive me, I know I have sinned, but it was earnest- I was at school, away from limited release theaters, when it came out and by the time I returned for Christmas it was out of theaters. When the DVD came out, they were all gone in the Blockbuster in San Diego, so I finally saw it while at home for spring break. Anyways- amazing movie. Every time Wes Anderson makes a film, it becomes impossible to rank it among the others. This film was absolutely amazing, but was it better than Rushmore or The Royal Tenenbaums? It’s hard to say, really, they are all just so great. His visual style as well as his use of deadpan humor, minimalist dialog and a number of common themes tie his films together, and sitting next to each other on a shelf, they certainly feel related. I will not go on and on about the movies, as Rushmore Academy (The net’s biggest and best Anderson fan site) has done that well enough. I will say though, that each of his movies has certainly impacted me personally, and the way I look at family, friendship and the human condition. The idiosyncrasies of his characters and the perfection and detail of his sets, wardrobes, and soundtracks certainly convey his own little beautiful world, utterly separate from our own, but it would be hard to call his work fantasy. In the case of his most recent work, I felt so connected to all three of the Whitman brothers, in different ways. I certainly feel that my obsessive compulsive nature can be similar to Francis, but I definitely feel that my attachment to women is conveyed in Jack. Strangely enough, as hard as it is to say (as always with Anderson), my favorite of the three is probably Adrien Brody as Peter. I am in total anticipation for 2009’s The Fantastic Mr. Fox (I loved Roald Dahl as a child.) It is a shame that this film, along with his previous four, didn’t win the oscar.
