
            The magically musical duo of Goopy Gyne and Bagha Byne make a comeback in this sequel, where they are invited to the court of the Hirak Raja (The Diamond King), for their musical skills. They are to perform at the kingdom's Jubilee Celebrations.Goopy and Bagha are bored with their lives as crown princes of Shundi and Halla. They are looking for a change, which comes in the form of a chance to visit Hirak Rajya (Land of Diamonds), known for its huge diamond mines. They jocundly set out for Hirak Rajya. But little do they know of the machinations of Hirok Raja (Utpal Dutt). The king is a tyrant. Diamonds and riches get pent up in his treasuries, while his subjects starve and suffer. Those who protest are taken care of in the 'Jantarmantar', a chamber for brainwashing devised by the scientist (Santosh Dutta), who the king mocks calling as "Gobeshok Gobochondro Gyanotirtho Gyanorotno Gyanambudhi Gyanochuramoni." His ministers are mere puppets. The only enemy the king has in his land is Udayan Pandit (Soumitra Chatterjee). He is a school teacher and, more than that, he is a believer of values. The king forcefully closes his school down. Udayan flees to hide in the mountains.Meanwhile, Goopy and Bagha are on their way to Hirok Rajya. By coincidence, they meet Udayan, who intimates them of the king's true nature. The two impress Udayan with their magical powers, who plans to use them against the tyrant. Goopy and Bagha agree. The duo then head into Hirok Rajya, where they are welcomed with grandeur. They entertain the rogue king,fooling him into believing that they think he is great. They rob the treasury (which was guarded by a tiger) using their magical music, for bribing the guards.The king has his tricks, too. He captures Udayan and all his students, and takes them to the Jantarmantar for brainwashing. But Goopy Bagha have already reached there using their magical powers. They have also bribed the Gobeshok onto their side, with the guards. On reaching the laboratory, the king and his ministers are stunned magically by Goopy's singing and then pushed into the Brainwashing machine. After the king is brainwashed he turns to the good side,he then along with the villagers pull down his own statue situated at the center of the village,and everything goes back to normal in the land of hirak raja.
    

The Kingdom of Diamonds


            
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Belaseshe

Sonar Kella

Malyadaan

Lathi

Atanka


            SEATTLE FILM SOCIETY August 20, 1977
DISTANT THUNDER. Written and directed by Satyajit Ray. India, 1972. Music: Ray. Leading players: Soumitra Chatterji, Babita.If you crossed an Italian neorealist film with a work by Japanese director Yasujiro Ozu, the result might be something like Distant Thunder. In a unique way, Indian director Satyajit Ray combines a social consciousness in a changing society with a slow narrative style to reveal nuances of character. The relaxed pace allows us to enter the world and experience the internal process and transformation of an individual. Rays films often play on the tension between traditional customs and the effects of urban modernization with a naturalness that has you wondering if his characters are real people or actors.There are few directors who give you the sense of knowing the characters as Ray does. Soumitra Chatterji as the Brahmin in Distant Thunder is gradually revealed on several levels through his relationship with his wife, students, patients and townspeople. It is the visibility of his internal dialogue and the reassessment of his values and social position amidst the so-called manmade famine of 1943 that structure the movement of the film.As the Brahmin's authority and stature in the community are rendered inconsequential by a hunger which levels all class distinctions, he is forced to give up the superiority which separates him from the peasants. With deliberate and dissecting camera movement, Ray establishes a set of polarities from the opening shots which mark the progression of Chatterji's character. His wife Babita is introduced via a hand rising above the swirling waters of a river. The course of the film literally flows in and around water, and the beginning of the famine is signaled by the cholera epidemic which prevents use of river water for drinking.Similarly, the turning point in the pundits life occurs at the waters edge. Crushed by his impotence after watching a riot at the rice mill he retreats to the shore to reconsider his position. He has been undergoing a gradual disillusionment, and comments to his wife that he doesnt understand the inability of money to buy what they need. It is Babita who proves to be more resourceful, and her embodiment of the creative force is indicated by her closeness to water. After an attempted rape she throws herself into the cleansing river. She is the one who must ultimately become the provider for the family and the link to the community.Opposed to the creative spirit expressed through the water imagery is a progression of fire symbols, signs of a burnt-out existence. The first indication of an interruption of natural forces comes in the opening moments as the townswomen, bathing, watch the flying ships overhead, harbingers of war and famine. Ray uses several closeups of insects and butterflies feeding on parched ground, but the most obvious use of fire is the badly burned body of the kiln worker. In this distorted social order he ironically becomes the supplier of grain. He is constantly seen lighting cigarettes, and smoking is a kind of social ritual throughout the film. Notice the discarded cigarette tossed in the stream as well as other instances of burning and clouding-over of life-giving water.Just as Babita's contact with the natural forces signifies a sympathy and understanding of the other sufferers, the grotesque halfburned, half-normal face of the kiln worker exaggerates his isolation and separateness from the rest of society. He has too much face. To comprehend his place in the life of the community and move closer to its creative center, the Brahmin must humble himself and undergo a loss of face. We see his metamorphosis as Ray builds silhouettes against a vast sky. The first silhouette is that of the old beggar man who asks the Brahmin for food. Later, as he realizes his false dependence on the peasants, the Brahmin undergoes his loss of face and he too appears in silhouette. Throughout the film we find small forms outlined against a large background until the final climactic and powerful image of a community joined together against a disaster manufactured by an individual act somewhere in the distance.James GreenbergSubmitted by James Spee on July 18, 2007. I first saw this film at the Seattle Film Society showing 30 years ago and I still remember it vividly.
    

Soumitra Chatterjee

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