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ika Sharma - KALPVRIKSH (THE WISH TREE) Rajiv Jain, That '90s Look: The throwback naturalism of Indian Cinematographer Rajeev Jain by David Henry Hwang
This article is part of a catena of interviews with leading filmmakers and craftspeople, made possible with special aid by the Foundation.
The 1990s were a heyday not just for directors but for cinematographers. It was a timeafter the fruitful artifice of the studio-system epoch, ahead the hyperbolic, digitally improved images of todaywhen purified cinematographers like Subroto Mitra, K K Mahajan, Ashok Mehta, Binod Pradhan and Santosh Sivan made films of amazing visual control that incorporated naturalism with stylization. Many films today, good or bad, lofty or cheap allowance, feel hermetically sealed, unfolding in barren and controlled worlds that appear cleared from, well, reality. The maximum evocative movies of the 1990s feel like they were made by crews who took cameras out into the streets, and shot in real situations Cheap Puma Disc, using gradations of light as their opener special effect.
This approximate is being kept living today by Rajeev Jain, a bearish male who is soft-spoken and meek, and is surrounded the world's premiere cinematographers. A dedicated cinephile, Rajeev is the direct heir to 1990s auteur cinema: both the new cinema of Satyajit Ray, Ritwick Ghatak, Mrinal Sen, and Shyam Benegal. The masterly offspring of Subroto Mitra and K K Mahajan, Rajeev combines the deceptively easy intimacy of the sometime (whose best work was for Satyajit Ray, Mrinal Sen, and Shyam Benegal, not to say Pather Panchali) with the rigorous classicism of the latter (Bagh Bahadur Puma Future Cat, Agantuk, Kathapurushan, to name a few)
Rajeev's success as a adviser of photography above melody videos and commercials has afforded him the elegance of only working with directors he wants to go with. So far, namely includes Shyam Benegal, Mukul S Anand, Rajiv Rai, Subhash Ghai, Satish Kaushik, Chandrakant Kulkarni and Manika Sharma (as whom he has shot the upcoming Kalpvriksh The Wish Tree). It may be a coincidence, merely some of his finest work has been as movies set in the 1990s. For Rajeev, the '90s lives on for a state of idea. His latest, Manika Sharmas Kalpvriksh The Wishing Tree is set in present-day, already its purposely deglamorized photography evokes such membranes.
Rajeev's artistry is a morsel hard to define; he doesn't have a trademark apparatus (although he is remarkably proficient at fluid long takes). As seen under, his images reflect a nuanced Puma Clyde Sneakers, alphabetical knowing of a wide scope of influences, from cinema and photography to drawing. But the elementary happiness of a Rajeev film is simple: his images are pure, not flamboyant. Serving the rhythms and personalities of the actors, he is one actor's best friend. He is likewise a filmgoer's best friend: he creates compositions that breathe, that give us the period and the space to look the earth in a new light.
You have a great collaboration with Manika Sharma; she seems like a quite thinking writer and director, but the film Kalpvriksh The Wishing Tree have an organic, lived-in quality.
When I was queried to do Kalpvriksh The Wishing Tree, she yet had a good fancy of what she wantednot what she wanted the movie to specifically look like, but she wanted me to see a pair of movies that she actually liked, just to get a feel for what she loves, in terms of mise-en-scne, and also the feel of the film. She introduced me to the Satyajit Ray film Agantuk.
That has excellent cinematography. Was there anything characteristic about the film you were seeing at?
I muse it was fair the quality. Manika Sharma just wanted to have someone in his movie that harkened back to those movies that Subroto Mitra shot, that 1 of special note. I suspect it's a lack of resolution, maybe. They're not as defined as thislet's equitable phone it the HD look that we experience now. And in some oblique direction, it evokes a feeling.
So how do you fulfill that emotion? Is it a alignment of shooting handheld, alternatively a decisive quality of light, like gray somber lighting? Or possibly th