Parallel Cinema Cinephile's Cosmos Pictures

In solidarity with the growing hate crimes in India, from now on "Parallel cinema Cinephiles Cosmos Pictures" page would be renamed into "INDIANS AGAINST HATE"... Kindly UNITE FOR THE CHANGE...

A tale of separation...
https://www.google.com/amp/s/amp.scroll.in/article/911226/these-two-men-from-delhi-missed-the-missing-kerala-boat-to-new-zealand-and-thereby-hangs-a-tale

These two men from Delhi missed the missing Kerala boat to New Zealand. And thereby hangs a tale Nearly 40 people from South Delhi’s Madangir area are believed to be on board Devamata 2, which sailed from Kerala’s Munambam harbour a fortnight ago.

Looking for a passionate and artistic cinematographers,editors,music directors and actors to get associated with us for future projects... Actors from theatre background are very much welcome... Please try understanding this before you respond,We are not going to work with a crew who consider cinema as a medium to make money... This is a genuine attempt to understand,learn and practice cinema as an art... Please do let me know either in the comments section or through a personal message...
"Let's hold together for the sake of cinema"
Cheers👍

GOLDEN ERA OF INDIAN CINEMA:
Following India's independence, the period from the late 1944s to the 1960s are regarded by film historians as the 'Golden Age' of Indian cinema. Some of the most critically acclaimed Indian films of all time were produced during this period.
This period saw the emergence of a new Parallel Cinema movement, mainly led by Bengali cinema.Early examples of films in this movement include Chetan Anand's Neecha Nagar (1946), Ritwik Ghatak's Nagarik (1952) and Bimal Roy's Do Bigha Zameen (1953), laying the foundations for Indian neorealism[68] and the "Indian New Wave". Pather Panchali (1955), the first part of The Apu Trilogy (1955–1959) by Satyajit Ray, marked his entry in Indian cinema.The Apu Trilogy won major prizes at all the major international film festivals and led to the 'Parallel Cinema' movement being firmly established in Indian cinema. Its influence on world cinema can also be felt in the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties" which "owe a tremendous debt to the Apu trilogy".
The cinematographer Subrata Mitra, who made his debut with Satyajit Ray's The Apu Trilogy, also had an important influence on cinematography across the world. One of his most important techniques was bounce lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming Aparajito (1956), the second part of The Apu Trilogy.Some of the experimental techniques which Satyajit Ray pioneered include photo-negative flashbacks and X-ray digressions while filming Pratidwandi (1972).[73] Ray's 1967 script for a film to be called The Alien, which was eventually cancelled, is also widely believed to have been the inspiration for Steven Spielberg's E.T. (1982).[74][75][76] Satyajit Ray and Ritwik Ghatak went on to direct many more critically acclaimed 'art films', and they were followed by other acclaimed Indian independent filmmakers such as Mrinal Sen, Mani Kaul, Adoor Gopalakrishnan, G. Aravindan and Buddhadeb Dasgupta.During the 1960s, Indira Gandhi's intervention during her reign as the Information and Broadcasting Minister of India further led to production of off-beat cinematic expression being supported by the official Film Finance Corporation.
Commercial Hindi cinema also began thriving, with examples of acclaimed films at the time include the Guru Dutt films Pyaasa (1957) and Kaagaz Ke Phool (1959) and the Raj Kapoor films Awaara (1951) and Shree 420 (1955). These films expressed social themes mainly dealing with working-class urban life in India; Awaara presented the city as both a nightmare and a dream, while Pyaasa critiqued the unreality of city life.Some epic films were also produced at the time, including Mehboob Khan's Mother India (1957), which was nominated for the Academy Award for Best Foreign Language Film and K. Asif's Mughal-e-Azam (1960). V. Shantaram's Do Aankhen Barah Haath (1957) is believed to have inspired the Hollywood film The Dirty Dozen (1967). Madhumati (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularised the theme of reincarnation in Western popular culture. Other mainstream Hindi filmmakers at the time included Kamal Amrohi and Vijay Bhatt.
Ever since Chetan Anand's social realist film Neecha Nagar won the Grand Prize at the first Cannes Film Festival, Indian films were frequently in competition for the Palme d'Or at the Cannes Film Festival for nearly every year in the 1950s and early 1960s, with a number of them winning major prizes at the festival. Satyajit Ray also won the Golden Lion at the Venice Film Festival for Aparajito (1956), the second part of The Apu Trilogy, and the Golden Bear and two Silver Bears for Best Director at the Berlin International Film Festival.Ray's contemporaries, Ritwik Ghatak and Guru Dutt, were overlooked in their own lifetimes but had belatedly generated international recognition much later in the 1980s and 1990s. Ray is regarded as one of the greatest auteurs of 20th century cinema, with Dutt and Ghatak. In 1992, the Sight & Sound Critics' Poll ranked Ray at No. 7 in its list of "Top 10 Directors" of all time,[86] while Dutt was ranked No. 73 in the 2002 Sight & Sound greatest directors poll.
Sivaji Ganesan (1928-2001)
Sivaji Ganesan became India's first ever actor to receive an international award when he won the "Best Actor" award at the Afro-Asian film festival in 1960 and was awarded the title of Chevalier in the Legion of Honour by the French Government in 1995. Tamil cinema is also influenced by Dravidian politics, with prominent film personalities like C N Annadurai, M G Ramachandran, M Karunanidhi and Jayalalithaa becoming Chief Ministers of Tamil Nadu.
Adurthi S***a Rao was recognized as the intellectual fountain head of Indian drama films.A number of Indian films from this era are often included among the greatest films of all time in various critics' and directors' polls. At this juncture, south cinema saw the production works based on the epic Mahabharata, such as Mayabazar, listed by IBN Live's 2013 Poll as the greatest Indian film of all time, and Narthanasala received awards for best production design and best actor to S. V. Ranga Rao, at the Indonesian Film Festival. A number of Satyajit Ray films appeared in the Sight & Sound Critics' Poll, including The Apu Trilogy (ranked No. 4 in 1992 if votes are combined), The Music Room (ranked No. 27 in 1992), Charulata (ranked No. 41 in 1992) and Days and Nights in the Forest (ranked No. 81 in 1982). The 2002 Sight & Sound critics' and directors' poll also included the Guru Dutt films Pyaasa and Kaagaz Ke Phool (both tied at #160), the Ritwik Ghatak films Meghe Dhaka Tara (ranked #231) and Komal Gandhar (ranked #346), and Raj Kapoor's Awaara, Vijay Bhatt's Baiju Bawra, Mehboob Khan's Mother India and K. Asif's Mughal-e-Azam all tied at #346. In 1998, the critics' poll conducted by the Asian film magazine Cinemaya included The Apu Trilogy (ranked No. 1 if votes are combined), Ray's Charulata and The Music Room (both tied at #11), and Ghatak's Subarnarekha (also tied at #11). In 1999, The Village Voice top 250 "Best Film of the Century" critics' poll also included The Apu Trilogy (ranked No. 5 if votes are combined). In 2005, The Apu Trilogy and Pyaasa were also featured in Time magazine's "All-TIME" 100 best movies list.

Some eminent people from golden era of indian cinema

Best Scene from CLOUD ATLAS....
"From womb to tomb we are bond to others"

http://www.youtube.com/watch?v=ROZna2hVz3A

My favorite Scene from "Cloud Atlas" Perfection. http://www.anhtunguyen.com https://www.facebook.com/AnhTuNguyen.Photography

Satyajit Ray was an Indian filmmaker, regarded as one of the greatest auteurs of world cinema. Ray was born in the city of Calcutta into a Bengali family prominent in the world of arts and literature. Starting his career as a commercial artist, Ray was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and viewing Vittorio De Sica's Italian neorealist 1948 film Bicycle Thieves during a visit to London.
Ray directed 36 films, including feature films, documentaries and shorts. He was also a fiction writer, publisher, illustrator, calligrapher, graphic designer and film critic. He authored several short stories and novels, primarily aimed at children and adolescents. Feluda, the sleuth, and Professor Shonku, the scientist in his science fiction stories, are popular fictional characters created by him.
Ray's first film, Pather Panchali (1955), won eleven international prizes, including Best Human Documentary at the Cannes Film Festival. This film, Aparajito (1956), and Apur Sansar (1959) form The Apu Trilogy. Ray did the scripting, casting, scoring, and editing, and designed his own credit titles and publicity material. Ray received many major awards in his career, including 32 Indian National Film Awards, a number of awards at international film festivals and award ceremonies, and an Academy Award in 1992. The Government of India honoured him with the Bharat Ratna in 1992.

Parallel Cinema is a film movement in Indian cinema that originated in the state of Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema, represented especially by popular Hindi cinema, known today as Bollywood. Inspired by Italian Neorealism, Parallel Cinema began just before the French New Wave and Japanese New Wave, and was precursor to the Indian New Wave of the 1960s. The movement was initially led by Bengali cinema and produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and others. It later gained prominence in other film industries of India. It is known for its serious content, realism and naturalism, with a keen eye on the sociopolitical climate of the times, and for the rejection of the dance-and-song numbers that are typical of mainstream commercial cinema.