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The Disciple remains on the edge of the well of musicianship
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The Disciple, now showing on Netflix, engulfs you in its web of paradox and irony
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Chaitanya Tamhane makes me jealous. Like the protagonist Sharad in
The Disciple, my induction into the universe of Hindustani music was one of rapture and awe at the depth of the tradition. Many years passed before I identified the surprisingly homogenous and disillusioningly pedestrian subcultures it consisted of. Tamhane latches on to one of these the Marathi Brahmin subculture of Khayal music in Mumbai and presents an astoundingly faithful representation of its textures, timbres and contradictions.
The Disciple: Hits the notes of excellence
By IANS |
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The Disciple
Direction: Chaitanya Tamhane
BY VINAYAK CHAKRAVORTY
Chaitanya Tamhane s new film intricately weaves diverse threads. It talks of the state of Hindustani Classical music and its Guru-Shishya parampara . There is adequate reference to the blatant commercialising of music, as well as how myths are created around icons in the world of art. Importantly, in a sublime final scene, the film leaves a lingering question. What really is the mark of purity in art does it lie in rigorous learning, or is it about simplistic rendition that communicates to all with sincerity?
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