Revisited this today and can't help but marvel at Roshan Kumariji's incredible talent. Every movement is so elegant and precise. She flows effortlessy and so perfectly. It's mersmerizing to watch her.
She looks like nobility herself with that beautiful face. And as fascinating as her footwork is, her expressions and that amazing agility with her hands compels me.
Te excellant talent of Rosn Kumari Ji as been immortalised for future generations troug tis great film by Satyajit Ray . With due regards to all , I have not seen any other katthak performance tat can come any close to this meserising performance . . The performance is exceptionally strong in all aspects of Katthak dance .
this scene is for me the very climax of the film; the grace of the dancer, the nobility of the protagonist make this my favourite film of all time. So wonderful to see it in such a beautifully restored version.
"Cinema rarely achieves such a masterful combining of high art and politics. The film’s delicate subtlety and quiet mood give way when the musical interludes erupt. It would be hard to top the dance segment performed by Indian classical dancer Roshan Kumari in the film’s final concert. With bells on her ankles to augment the rhythm, Kumari’s precise facial expressions and movements tell a story in the structure of a Kathak dance. (Kathak is the Sanskrit expression for “s/he who tells a story.”) The movie’s treatment of Roy is rich and complex. He is a self-involved fossil, pathetic from many points of view, and his fate is an inevitable consequence of social progress, yet it is also personally tragic. The passing away of old ruling classes always has its fascinating, colorful, painful side. The landlord’s attachment to music is not feigned. And the film poses the question, perhaps inadvertently-will the new bourgeois elite have the same feeling for art? Roy’s demise has Shakespearian overtones, which bring to mind the words of the Player King in Hamlet: “Our wills and fates do so contrary run/ That our devices still are overthrown,/ Our thoughts are ours, their ends none of our own.” Written by Joanne Laurier Full article - www.wsws.org/en/articles/2010/05/sff4-m21.html
Dear Satyajit Ray wanted a Kathak performance that went beyond the signature moves of the artform. Ustad Vilayat Khan, the composer for the film, had a suggestion - Roshan Kumari ji! They both came to their house.to ask her for this film.
@@govindpai4781 no dear… the starting alap itself is indicating gaud malhar as the sangati of re pa is visible… and also there is no pa re sangati as in jayjaywanti even a dha ni re sangati as in jayjaywanti… so it is clearly not jayjaywanti… and is gaud malhar from the starting… and in the desh ang jayjaywanti in the aaroh, gandhar is omitted and here gandhar was taken in aaroh so clearly it isn’t jayjaywanti
