 I don't know if you knew this. Boca Churro. What? Does it ring? Yeah, Boca Churro. Okay. Yankees have won 10 in a row. I know. And they're four games out of first place. Yeah, I know. They came out of nowhere. They did. I keep emailing my dad and just saying, shh. Everyone read them off because there was no reason to think they would be good. Oh, we were having one of the worst years I've ever seen. So. You're clicking right now. It's kind of like this tenuous little thing I'm holding, but Mike and I are going to go. That's what the new, these are brand new Yankee hats that I just got for him and I today. These are the authentic. Looks like you rubbed it in dog shit. Oh wait, that's just the logo. Give it a reaction to the hits of Corbin. Boston Red sucks. Anyways, who's in first place? I know we're not. But you're not. You're not even ahead of the Yankees. We were. You were. But then you started to Red sucks. Anyways, today we're doing a movie review of the 1963 Bengali film by a little known director, Dr. Ditt. Yes. And that's how it's, that's how it is. It's Bengali pronunciation. I'm glad that we've been doing this on our channel because without us, no one would know of this man. Yeah. He's, you know. We're doing a service. We really are. So here's our goal to help these lesser known artists become more established. I think it's our sixth. We got three. Right. Then we got the one after that with the wife. Yeah. Then we got. Wait. Naya Khan or whatever the one on the train was. The hero. Yes. This is sixth. Was there another one? Obviously. If you count, if you count the short film. The short film. Two. But yeah, it's a short. That's a short film. It's such a dry film. Anyways. Yes. And he only has seven. So. That's obviously. That's a joke. He doesn't only. We'll be only. We only have one more to watch. It was a joke. This is all jokes. Free. But it's directed and partially written. And because it's based off of, I believe, a short story. Correct. And the music. The music as well. But I think it's, that's pretty common for him. Except for obviously when he used Robbie Shankar for the Opu. Starring Anil Chatterjee. Lots of Bengalis. Can I say that? Madhabi Mukherjee. Jaya Bakchan. A very young. Very young guy. Jaya Bakchan. I didn't, until I looked at it, I didn't know it was her. Yeah. Who was Jaya Baduri. Yes. But and then a whole bunch of other Bannerjee's, Chatterjee's. Oh yes. A whole bunch. Was Andrani in this one? She was. We watched this together. I assume you watch most of the Bengalis. Most of the Bengali ones. She absolutely wants to watch. Yes. But yes. Anyways. Obviously, Hunter Spence Fall Review. It came out in 1963. If you haven't watched it, please go watch it. Watch it. Come back. It's actually on HBO for us, even though he didn't get to watch it there. Well, you can rent it on Amazon. You can rent it on Amazon. But it's for free on HBO. It's all, they have actually his entire collection on HBO. Wow. The whole thing? The whole, his whole catalog. Wow. I don't, I don't know why in terms of, it's not a, not a big thing for HBO. So. I don't know. But I love it. I'm not saying I don't love it. I'm curious to know. I bet there's a relationship between the film preservation society and Swasezi and HBO and all that. Anyways. But once again, Hunter Spence Fall Review. If you haven't watched it, please go watch it. Come back. Rick, your initial thoughts, please. I'll just cut to the chase as they say. He hated it. And he hates Bengalis. That's right. I've, I've added it to my list of favorite films of all time. Okay. But where does it stack in him? Because I knew you would like it. I had no doubt. Yeah. It, actually. So Opu is a standalone kind of thing that's, it's kind of like Jaws for Steven Spielberg. It's the thing that broke him through. Yeah. And he's, you know, Spielberg's made better films than Jaws, but Jaws is, he don't have Spielberg without Jaws. And I tell that way about Opu. And there's a lot of things he does in Opu that you, you see, but like the hero. So different. So different. And the maturity in what he was doing. Yeah. This one for me is actually more than the hero. Yeah. So this is your favorite now. This, this after Opu's got that special place and I could never put anything above it. Yeah. Because it's like his great work, like Anya Rock's Gangs of Wasp. You know what I mean? Yeah. But I have so much that I absolutely adore about this movie that it's, it's hard not to make it my big. Yeah. I absolutely loved this film. I think it was a simple complex story. Great way to say it. A simple complex story, but almost perfect in every way. Yeah. In terms of. There's only, I have only one. I'll say this. I only one thing about it. Yeah. Me too. But the fact that like just everything from obviously the direction to the writing to it, it shocked me in terms of it did stuff. I wasn't expecting. Especially for 1963. Yeah. To do characters surprised me in terms of obviously, you know, this is, I, when I started I'm like, okay, we're going to have a bunch of mansplaining misogynistic men. Patriarchal. Patriarchal. Right. You know, men that are just too prideful, but he kind of turned it on its head a bunch of times with, with them and their arcs, a bunch of different men. And then obviously something you thought were going to be great and then turned out to be a different way. And obviously her story and her strength, I thought was absolutely incredible. So it hats off to such a ride. I know this was based on a short story, but obviously he, he fleshed it out even more and did a great job and kind of captivating you for two hours, 15 minutes in a black and white film from 1963. That's still relevant today for a lot of people. It absolutely is. It absolutely is. It's relevant. And this is one of the things I love about his films. And most of the films that we've seen that are Bengali or even in the Malayalam films that we've seen of recent date that we've just raved about are the full immersion into the culture where you may miss some nuances. If you're not familiar with the culture, but the predominant aspect of it is the human condition and universal truths. Yeah. And I, there's so much to talk about when it comes to the story, the script. I have a very neat perspective in this because there's no culture in India that I'm more familiar with than Bengali because of Indrani. Yeah. So there's such a special connection I have where I can get some of the things that aren't even inside jokes. They're just endearing things. So for example, when they're making fish and rice, I mean, I can't tell you how many times Indrani has shown me her dinner and it's fish and rice and she jokes about the fact or it's a fish head and they serve it a fish head and like, babe, look a fish head. Or when the little boy has, when the daddy comes back and he asked for his daddy's bus tickets, I saw it in Indrani's face on through the phone, something she recognized that I recognized something was going on there. And she said, I used to do that with my daddy all the time. He'd bus to work and whenever he got home, I wanted to see his tickets. Why? It was just this neat thing like the adventure that he went on. It's a touch on where dad had gone. That's cool. That's cool. So those little aspects and hearing the horns honking because I'm always hearing that in the background on the phone with her. I have that little slice of it that adds a level of endearment. But other than that, you don't need that for this. The thing I'm most astonished by and I'm astonished by a lot, that a film in 1963, a Bengali film makes a woman the anchor and the hero of your story. Hollywood is still fighting for women to have roles like that. Yeah. And here he's like, not just making a woman the star, but the issues that pertain to the woman and the difference. We can go on and on about progressive versus conservatism. Incredible. Let's talk about her. I thought she did a fantastic job and as well as such a rise writing of her. Yes. It was a great scene when, you know, he was kind of weary of her because, you know, he found her lipstick. Right. And, you know, you knew what was going on in his mind even though they didn't tell you what was going on in his mind. He was like, what is she really doing? Yeah. Is she one of those people? And then he heard this whole conversation and she was making up stuff about her husband to make sure his pride wasn't hurt by what happened to him. And his image. Even though he wasn't there. Right. And he gets to overhear it. Yeah. He literally, he would have never known about this conversation obviously unless he was there, like he was, but like she didn't know he was there. She didn't have to do any of that. And she did it because she loves him. Yeah. And she knew, even if she disagrees with a lot of the patriarchal aspects that he got from his dad, which I love the complexity of her husband. Her husband or the dad? The complexity of the husband. The dad wasn't complex. He was, he was pretty straightforward. But he didn't surprise me though when he did come back and he was like, cause I wasn't expecting that yet. No, I wasn't. I was not expecting that yet. No. And there were several times where I laughed. He was saying things. And I said to Androni what funny one. Oh, just die already. Because he really represented and it's still around. Yeah. He represented the mindset. It's always the older generation. It is. There's something that happens in people. There's a physical thing that happens and it is allegory allegorical to what actually is happening to them and just life where they become rigid. They become less flexible. They become set. And I understand when people have had a hard life and things don't go their way is they can become pessimistic and it creates a deep friction, especially when family is so important in India. But I love not only that moment, but we'll jump around from the acting and the writing and the cinematography. Two of my favorite moments in the cinematography, one of them was in this. And it was that moment where the camera goes from her talking and what we got was this weird split screen reflection of her talking and her husband listening to it. And then he gets up and walks away because he's realizing well, when I'm not around, she's loving me and protecting me. I don't need to be concerned. I shouldn't be such an asshole. Exactly. He had such an interesting story because right when it started, I was like, you're a pig. Thank you. And it still bothered me because obviously at the beginning she said something. She was like, you get upset when your chai isn't ready when you get home. Right. And that stuck with him. And I'm like, that's your character right there. And so I'm still not fully sold. And I'm hoping he kind of turned over a new leaf and he's not a dick when his chai isn't ready when he gets home. But that whole thing where I thought he was just going to be this guy. Right. And then he grudgingly at times kind of grew into a better person. He had a struggle. Yeah, he was definitely the man that doesn't like if his wife makes more than him. Right. Doesn't like it. Very fragile ego. Yeah. And so a bunch of that patriarchal stuff that's still in society today, that one's never made any sense to me. The one like women making more than men if looks really. Well, it stems from this ages long expectation of the roles people play. And you shouldn't get out of that role or you screw up society. And one of my second favorite thing he did cinematography wise. I can tell you my shot. It might be the same shot. It's with him. The husband. Yeah. It is. By the bed? Yes. With the cigarette? Yes. That is pretty. Well, it was one of the most pretty black in my shots I've ever seen. And it was brilliant because in the moment he did it, I said that the shot came up. And I said to Androni, I said, oh my goodness. Yeah, that was just a gorgeous shot. I said, first of all, it's gorgeous. But look at what he's doing. He's showing you the two sides of this husband right now. The shadow represents the legalistic, patriarchal, rigid part of him. And then the other fluid part of him is the progressive, modern, the real guy in there that's really fighting against kind of the Jekyll and Hyde. Yeah. And that's one of my favorite things about Satya Jirai is he understands that cinema is first and foremost a visual format. Yeah. And as a director's medium, you have the power to say more with an image that you show you don't tell. Yeah. He absolutely name all the directors that have been breakthrough genius Mavericks, Charlie Chaplin, and then go to Cecil V. DeMille and then go to Alfred Hitchcock. And the list goes on. He is absolutely in that list of names. Oh, 100%. 100%. Yeah, he's absolutely brilliant. Everything he's done that we've seen is incredible, especially for the time that it comes out that he's pushing boundaries not only with story, but with the way he tells. And it tells not something I've noticed. He tells very progressive stories, but in what, 1960s? Yeah. Like a time that people weren't telling these style of stories or these messages that they were trying to get across. Right. What I've learned is very interesting is he's very much a product of Bengal. Mm-hmm. Because the focus on being educated, the focus, I mean, it's kind of stereotypical. Books, glasses, and cigarettes, that's like the stereotypical Bengali man. Be really, really educated and you smoke and you got glasses and it conveys the level of education you have. And being extremely progressive and on the edge of the evolution of the human being in culture, in art, in literature. Yeah. And he's very much a product of that, but he's also a product of the fact that he very early on in his life was so in love with international cinema and the world. He thought internationally. Yeah. And it shows. Now, the Jaya. Yeah. She showed great promise at that age, man. She did a great job. Yeah, she did a fantastic job, even though she was in it for very little. I think we saw her first in Sholay. That's where we've at first seen her. I didn't even realize it was her until we're watching it. And then Gerani said, you know that's Mrs. Bachchan. Yeah. Oh my goodness, it is. I wouldn't have picked up if I didn't at the end look up IMDb. And I was like, oh, that was Jaya Bachchan. Cool. Yeah, I thought she did great. Anil, I thought did a super fantastic job of showing the complexities. Yeah. While showing one side of the patriarchal egotistical asshole man. Fully believed the family was a family. Yeah. And then also showing his loving, supporting side and his growth. I thought it was a great ending scene. The end. Where they came together after, which I'll talk about the boss, which I thought was a great character. It really could have been a throwaway. Yeah. But it was an important part of the story. Very important because, one, it showed that this character who you thought was going to be this great, nice character that was going to kind of come help in and help the family turned out to be basically, he was a racist. Right? About an Anglo-Indian who is what they call her, right? Right, but didn't play him. No, didn't play him like that. Which is amazing for that day and age that he wasn't, he was a very compassionate, kind person who actually had a very prejudicial side to him. And even when he starts to, you know, at the very end, I love the final line when he calls out her name and he says Mrs. Mazunder, you know, he's gotten mad and saying, you stepped out of line. But it kept getting dark too. It did. It did. It did. And when she leaves, you see the sense of regret he feels of what just happened. Yeah. He didn't want to lose her. No. And then that last, I can't say enough about the last scene because here's the husband, right? Right on the cusp of this change and he's going to be challenged and I was rooting for him, I'm like please don't be a dick to her. Come to her side, rally with her. Don't say, don't you realize what you've done? What kind of pressure was on the family now? And when he finally says what he says, it was number one, it was believable the way it was written and done. And then I love when he says, aren't you scared? And she says, feel my hand. I out loud, I went, oh, that's beautiful. Yeah, I loved the ending. I thought it was great. It was complex. It was also a beautiful shot there at the end that he gave of the big city, the light in the middle of it. I thought that was great. I didn't love the Anglo-Indian girl. That was my only, that's the one thing I don't like about the film. He's a white girl, technically. What is it? What is it? I don't know. What is it? She wasn't garbage. Right, exactly. But she wasn't at the level of everyone else. That's exactly what it was. And so she was fine. But the others were great. Yeah, that was my biggest gripe with it. But that was the first time at this time that we had seen I think a white person really? Yeah. From the classics that we've seen? Yeah. Really? And I'm assuming she was, she was born in India, right? But she was like left over, like because of the British that came over. Her family's here now and that's where she lives. Yeah, and Johnny told me it was very common when the British were here, and especially, she's specifically referring to Bengal, that a British soldier or a British man that was there would marry a Bengali girl. And their child would be Anglo-Indian. Yeah. Yeah. But I thought, even though I didn't love her performance, I thought I loved the idea of adding that part and that style of racism from an Indian into the story. Me too. Because it touched on something that, you know, we haven't really seen in film, even now, about the white people that live there and what the relationship is to some of the people there. Correct. And that obviously most people like her, accepting and loving and treating her just like another person, but this other guy just has prejudice just because they were left over from the British. Yeah. And so it shows a really complex side and then shows obviously this housewife who is not used to the big city showing all this new stuff. I love the scene where she found that lipstick, but then also when she found the sunglasses, she got the sunglasses. She looked great in the sunglasses. She did. She was very fashionable. Exploring all this new stuff. Yeah. And they handled everything. It's hot shit. Handled everything so well. Like when she threw out the lipstick, she was like, do whatever you want. Just don't misunderstand what I'm doing. Exactly. And I was like, that's, that was great. It wasn't a big fight. It wasn't anything. She was just like, you know that's not, you know that's not me. You know, there were, what went through my mind, they're very, very different films, but there's one similarity that kept, that her performance and this film reminded me of. And it was, I felt there was in this character and in her performance, there was a similar strength, commitment to core values and morality, commitment to do what needs to be done and not be controlled by patriarchy and everything else. I kept being reminded of Mother India. Yeah. I can see that. Absolutely. That sense of the strong woman with incredible, and she was always so optimistic. I fully believed their relationship. I love the tenderness she expressed to her husband when she was talking to him when they were in bed. She's just smelling his neck and kissing his shoulder. I fully believe that these two were a couple and though I didn't empathize with the patriarchal side he got from his dad, I did empathize with the struggle that a man would have who's torn. Especially at that time. At that time. Yeah. And love that he cited. It's just that last shot of him walking side by side with his wife and him fully embracing basically what the film basically says is embrace modernity. Yeah. Embrace the evolution of humanity and where we're going as a society and ends with an optimistic note that the old ways are going to slowly fade and the new is going to survive. Also I want to talk about the score even though it was a very simplistic score I thought it was nice and it added to the simplicity of the film. Yes. The simple complex story of the film. Yes. It wasn't overpowering. It wasn't anything that was like over the top but it just added a nice whenever it was there because a lot of times it wasn't. It added and I thought he did a great job with it. That's one of my favorite things about Satya Durai. I was saying this to Andrani in the car. He's about the film and I said he knows how to let a movie breathe. Yeah. He does what Michael Jackson referred to in concerts as let it sizzle. So if you watch Michael in rehearsal for some things the band would try to go into something and he'd stop and he'd say no, no, no. We've got to let that sit. Let it sizzle. Don't end it. It doesn't need to end right there and he loves to just let a moment like when she first puts the lipstick on and she's looking in the mirror he's fine with just letting it sit there for 30 seconds while she's looking at herself and just let it be with no score and even in the dialogue no one's talking rapid fire. It's just very natural. Somebody says something they may take a minute to think about it and respond because he lets life breathe in these moments and he doesn't feel the need to entertain anybody. He just feels the need to be believable and real. That's just great filmmaking. Yeah, I totally agree. Well, what should be our next Satya Durai? We're going to watch a movie. We've only got one left. He's like Quentin Tarantino. He has a bunch that we will get to. There's so many that we haven't got to yet because every single time we do one there's always a bunch of recommendations of the next one. And Madhabi Mukherjee. Yes, Madhabi Mukherjee. I love her acting. Because I know one that a lot of people love and that's always on his list of his best is the music room. I hear a lot about that one. I hear it's really good. I heard one. I don't know the name of it. He has almost like a thriller. I think it would be really interesting to see a Satya Durai thriller. So I want to know what you think the next Satya Durai film is. It's Durai, right? Or am I saying it? It's funny. I know there's two ways. When people pronounce his name the proper way, like Indrani will say Satya Durai. But when they just say his last name they'll say Ray. Oh, really? Yeah, a Ray film. And then if you pronounce the whole name it's Satya Durai. It's very interesting. Interesting. Let us know what the next Satya Durai film should be down below.