{"id":6775,"date":"2016-05-13T21:35:21","date_gmt":"2016-05-13T16:05:21","guid":{"rendered":"http:\/\/13.201.39.237\/?p=6775"},"modified":"2016-05-13T21:35:21","modified_gmt":"2016-05-13T16:05:21","slug":"the-disciple-review-chaitanya-tamhanes-immersive-portrait-of-a-classical-musicians-loneliness","status":"publish","type":"post","link":"http:\/\/13.207.105.184\/?p=6775","title":{"rendered":"The Disciple Review: Chaitanya Tamhane\u2019s Immersive Portrait of a Classical Musician\u2019s Loneliness"},"content":{"rendered":"\n<span class=\"dropcap\">T<\/span>here are two interconnected moments in Chaitanya Tamhane\u2019s <em>The Disciple<\/em>, a transcendental character study of a devoted artist stuck in an endless loop between ambition and stagnation that betrays the self-destructive nature of the pursuit of art.\n\nSharad Nerulkar (musician and acting newcomer Aditya Modak), an idealistic 24-year-old musician enters a \u201cYoung Performer\u201d competition as a Khayal vocalist. When the moment comes for the organisers to announce the names of the winners, Sharad almost leaps off his seat in anticipation \u2013 but as the ceremony ends without Sharad\u2019s name being called out, the dejection in his body language reveals everything. It\u2019s clear that there is sufficient distance for Sharad to travel before he can claim complete mastery over the art form. Initially, the journey seems within reach given that Sharad is just starting out and has time on his side.\n\nBut his predicament acquires devastating proportions when the action shifts to a decade later: A good few years into his musical career, Sharad still doesn\u2019t appear to be anywhere close to his destination. In the second sequence, Sharad, now in his late 30s, invites an organiser to his upcoming solo concert, a mark that he\u2019s steering his course as a musician. While accepting the invitation, his guest tells him he\u2019s including Sharad in a lineup of \u201cYoung Performers\u201d clubbing him with relative newcomers, a move that casually disregards his professional advancement. Once again, Sharad\u2019s face wears a look of humiliation so severe that it appears deafening.\n\nTamhane, who also wrote and edited the film, doesn\u2019t make the connection on screen, but he doesn\u2019t have to. In that moment, it\u2019s not difficult to imagine Sharad being instantly transported back to the past he thought he\u2019d outgrown, a period in his life when he see-sawed between wanting to be good and not being good enough for the world to take note. It\u2019s as if time, along with his talent, has remained entirely untransformed, leaving him behind.\n\n<strong>Well-earned adulation<\/strong>\n\nBuilt on similar layered moments of escalation and resentment that percolate beneath the surface, <em>The Disciple<\/em> \u2013 Tamhane\u2019s follow-up to the cerebral <em>Court<\/em> (2014) \u2013 is a sweeping existentialist tale of a disillusioned artist questioning his art. Despite the film\u2019s morose subject, Tamhane\u2019s art has brought him an unprecedented level of global recognition, surpassing the reputation he cultivated with his National Award-winning debut.\n\n<blockquote class=\"quote--center\"><p><em>The Disciple<\/em> is a sweeping existentialist tale of a disillusioned artist questioning his art.<\/p><\/blockquote>\n\nNot only is Oscar-winning filmmaker Alfonso Cuar\u00f3n its Executive Producer, <em>The Disciple<\/em> became the first Indian film to play in competition at Venice International Film Festival since Mira Nair\u2019s <em>Monsoon Wedding<\/em> won the Golden Lion in 2001. As of last weekend, the film snagged the FIPRESCI Jury Award as well as the Best Screenplay award at the festival.\n\nFor anyone wondering: the breathless adulation surrounding the film is completely justified. Spanning across three decades, <em>The Disciple<\/em> immerses the viewer in the intoxicating, unexposed world of Hindustani classical music with a razor-focused clarity, examining the interplay of the relationships between teacher and disciple, art and artist, and the artist and his audience.\n\nIt opens in 2006 when Sharad\u2019s routine involves a monk-like commitment to perfecting the nuances of \u201cKhayal,\u201d where the singer must be in total control of his psychological state. An all-consuming, rigorous quest, meant only for the select few who succeed in remaining untouched by worldly distractions.\n\nUnder the uncompromising tutelage of his Guruji (played by 76-year-old musician Arun Dravid, a disciple of the late Kishori Amonkar), Sharad considers himself up for the challenge. Tamhane refuses to underline whether Sharad is actually passionate about classical music or if he embraces it only to overwrite his father\u2019s failure, a man who was unable to transcend the difference between artist and genius. While this is an approach that initially feels frustrating, it later adds a rich layer to its flawless conclusion.\n\nSharad\u2019s life is spartan: An ageing grandmother, a drab job selling CDs of obscure classical musicians, and no inclination for companionship. He remains dutiful only toward proving himself as a musical force to reckon with, listening to philosophical audio lectures from Maai (voiced by National Award-winning Marathi filmmaker Sumitra Bhave), the guru who taught his mentor, as he bikes across Mumbai at night.\n\n<strong>The price of being an artist\u00a0\u00a0<\/strong>\n\n<em>The Disciple<\/em>\u2019s central conflict is in the dissonance between the theory of art and the reality checks provided by its actual practice \u2013 in this case, the mythology surrounding classical music that elevates it from a career to a form of higher calling. Maai\u2019s advice for the younger generation willing to tread on this \u201ceternal quest\u201d is to not care about the audience. But this proves to be easier said than done for an art form whose intended effect is incomplete without reactions from an audience.\n\nSharad constantly searches for this admiration \u2013 in peers, audiences, students, and judges mid-performance. The scenes where he displays anger and helplessness toward his own shortcomings that are relayed to him by disagreeable YouTube comments and his mentor\u2019s blunt criticisms, are the film\u2019s most potent indictment of the amount of life that art can suss out of an artist. Throughout the 120-minute runtime, Tamhane masterfully builds a case about the reception of art being as integral to the language of artistic fulfillment as its creation, with his trademark unhurried approach.\n\n<blockquote class=\"quote--center\"><p><em>The Disciple<\/em> \u2019s central conflict is in the dissonance between the theory of art and the reality checks provided by its actual practice.<\/p><\/blockquote>\n\nIf <em>The Disciple<\/em>, a film that contains numerous grand themes rarely loses sight of both its journey and destination, it\u2019s solely because of how Tamhane plays with the rhythms of form. The film largely makes use of static wide shots, filmed at a remove from the proceedings and their stillness heightens the intensity of Sharad\u2019s simmering internal conflict.\n\n<em>The Disciple<\/em> unfolds equally through the suggestions of its meticulous framing (the ethereal cinematography is by Michal Sobocinski) as it does through its plot. There are also the sub-plots that inform the narrative without forcing their way into the proceedings \u2013 a thread about the commercialisation of classical music that runs parallel to Sharad\u2019s artistic discontentment and ultimately leads to his placid climactic outburst is haunting, for instance.\n\nYet, the filmmaker\u2019s vision of an artist coming to realise that he might have devoted his entire life to an altogether outdated, if not meaningless, pursuit wouldn\u2019t have been half as compelling if not for Modak\u2019s inimitable lead turn. Without missing a single beat, he delivers a performance, equal parts vulnerable and inert, that encompasses the dualities of an entire lifetime.\n\n\u201cArt\u201d is the stories we make around it; the meaning we place on it. In <em>The Disciple<\/em>, Tamhane urges the viewer to also consider the human cost of maintaining that grand illusion, of the lives delayed in their search for a kind of perfection that might not exist anymore.\n","protected":false},"excerpt":{"rendered":"<p>The breathless adulation surrounding Chaitanya Tamhane\u2019s The Disciple, is completely justified. The film immerses the viewer in the intoxicating world of Hindustani classical music with a razor-focused clarity, examining the interplay of the relationships between teacher and disciple, art and artist, and artist and audience.<\/p>\n","protected":false},"author":103,"featured_media":6776,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3114],"tags":[10808,2465,2976,10809],"class_list":["post-6775","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bollywood","tag-chaitanya-tamhane","tag-classical-music","tag-court","tag-the-disciple"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.0 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Disciple Review: Chaitanya Tamhane\u2019s Immersive Portrait of a Classical Musician\u2019s Loneliness<\/title>\n<meta name=\"description\" content=\"The breathless adulation surrounding Chaitanya Tamhane\u2019s The Disciple, is completely justified. 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