CHAITANYA TAMHANE’S WORK is gaining momentum. His directorial debut, Court (2015), a meditation on the banal evil of India’s judicial system, was praised for challenging the ideological conventions of the legal drama through static shots and long takes. No fast cut, close-up-heavy procedural is staged inside the courtroom; no dramatic monologues are delivered; justice is not served. Tamhane’s second feature, The Disciple (2020), while more kinetic in its camerawork (by Michal Sobociniski), proceeds at a similarly measured pace. Its narrative about the existential journey of Sharad (Aditya Modak),
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Loading. By Peter Rainer Special correspondent
Does a movie about a devoted modern-day practitioner of Hindustani classical music sound overly esoteric? âThe Disciple,â written and directed by Chaitanya Tamhane, is anything but. What itâs really about is the spiritual balm that great art can provide.
Sharad (Aditya Modak) is a 24-year-old vocalist in the ancient tradition who studies and performs with his longtime musical guru, or Guruji (Arun Dravid). Like his father before him in this rarefied realm, he craves renown for his artistry. But Sharadâs father (Kiran Yadnyopavit) died without achieving recognition and, although his ambitions are high, Sharad seems bound for the same path. Hearing him perform in the musical competitions he never wins, itâs clear he has talent, not greatness.