{"id":110482,"date":"2017-05-03T09:11:48","date_gmt":"2017-05-03T13:11:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110482"},"modified":"2017-05-03T11:01:49","modified_gmt":"2017-05-03T15:01:49","slug":"could-i-please-steal-your-movie-and-other-news","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/05\/03\/could-i-please-steal-your-movie-and-other-news\/","title":{"rendered":"Could I Please Steal Your Movie, and Other News"},"content":{"rendered":"<div id=\"attachment_110483\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/satyajit-ray-4.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110483\" class=\"wp-image-110483\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/satyajit-ray-4.jpg\" width=\"1000\" height=\"672\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/satyajit-ray-4.jpg 2400w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/satyajit-ray-4-300x202.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/satyajit-ray-4-768x516.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/satyajit-ray-4-1024x688.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110483\" class=\"wp-caption-text\">Satyajit Ray.<\/p><\/div>\n<p>&nbsp;<\/p>\n<ul>\n<li>As is by now well known, Hollywood\u2014real, old-timey, cigar-chomping, tush-squeezing, cocktails-in-the-back-of-the-limousine Hollywood\u2014was and is a loathsome place. Imagine an elaborate machine designed to suck the marrow out of an art form and turn it into money\u2014you got it, buddy! And if you were a talented, eagle-eyed filmmaker from the subcontinent, well, forget about it, they\u2019d eat your soul. Or try to, anyway. In 1967, Satyajit Ray, who\u2019d directed the Apu trilogy in India, visited Hollywood in hopes of realizing his latest film, <em>The Alien<\/em>, which Columbia Pictures had agreed to bankroll. Roy expected a degree of autonomy; instead he confronted \u201cthe hum of machinery in my ears\u201d as he was chauffeured around Los Angeles and asked to sign away the rights to his own screenplay. The movie was never made\u2014but later, after Ray\u2019s screenplay had been circulating in California for decades, traces of it showed up in films like <em>E.T. <\/em>and <em>Close Encounters of the Third Kind<\/em>. Abhrajyoti Chakraborty writes, \u201c<a href=\"http:\/\/hazlitt.net\/feature\/when-satyajit-ray-came-hollywood\" target=\"_blank\">Where Ray wrote his own screenplays, preferred to operate the camera as often as possible, composed his own music, designed publicity posters and fonts, the studios of the West Coast were known for the scale of their operations and compartmentalized efficiency<\/a>, so that by the time a film went to the floors its appeal for different audiences would have been sorted out, and everyone in the cast and crew\u2014from the director to the actors to the set workers and sound technicians, all protected by their respective unions\u2014everyone worked in fixed roles to advance that appeal. What has worked once will work again, the Hollywood credo went; prior success was desirable because it could be endlessly replicated. Hollywood, like every longstanding establishment, had a house-style guide.\u201d<\/li>\n<\/ul>\n<ul>\n<li>You\u2019d think the culture wars were over, given that the Christian right united behind a presidential candidate who bragged about sexually assaulting women. You are wrong, though. We live in a time when enterprising Jesus-smooching types are still trying to launch Christian magazines for teen girls. Witness <em>Brio<\/em>, whose cover lines include \u201cDo You Love Stuff More Than God?\u201d and \u201cIs It OK to Pray for a Boyfriend?\u201d Liam Stack writes: \u201c<a href=\"https:\/\/www.nytimes.com\/2017\/05\/02\/business\/media\/brio-magazine-focus-family.html?module=WatchingPortal&amp;region=c-column-middle-span-region&amp;pgType=Homepage&amp;action=click&amp;mediaId=thumb_square&amp;state=standard&amp;contentPlacement=9&amp;version=internal&amp;contentCollection=www.nytimes.com&amp;contentId=https%3A%2F%2Fwww.nytimes.com%2F2017%2F05%2F02%2Fbusiness%2Fmedia%2Fbrio-magazine-focus-family.html&amp;eventName=Watching-article-click\" target=\"_blank\">While <em>Teen Vogue <\/em>recently published a\u00a0guide to gifts\u00a0you can buy a friend after an abortion, <em>Brio <\/em>has featured reader testimonials on how to avoid the temptations of premarital sex<\/a> (\u2018I began struggling to keep my thoughts godly when Satan tried to draw me out of my purity,\u2019 wrote Leah, age sixteen, in 2009.) Sorcha Brophy, a sociologist at the University of Pittsburgh who grew up reading <em>Brio<\/em>, said the magazine aims to \u2018normalize being a Christian teen\u2019 by telling readers it can be cool to go to church and shun drugs and partying. But she said its emphasis on moral uprightness can also create a lot of pressure. As an example, Ms. Brophy pointed to a feature she encountered during her research: a pop culture quiz that deducted points from a reader\u2019s score for correctly answered questions about mainstream music videos and celebrity gossip.\u201d<\/li>\n<\/ul>\n<p><!--more--><\/p>\n<ul>\n<li>Grace Paley kept so busy as an activist that it\u2019s a wonder she found any time to write at all. On the occasion of a new collection of Paley\u2019s stories, nonfiction, and poems, Alexandra Schwartz looks at how the protester landed on the page: \u201c<a href=\"http:\/\/www.newyorker.com\/magazine\/2017\/05\/08\/the-art-and-activism-of-grace-paley\" target=\"_blank\">Paley was often asked about the connection between her politics and her fiction<\/a>. Sometimes she said that her subject matter turned out to be inherently political \u2026 Paley initially suspected that her work would be considered \u2018trivial, stupid, boring, domestic, and not interesting,\u2019 but she couldn\u2019t help it: \u2018Everyday life, kitchen life, children life had been handed to me.\u2019 Another answer had to do with justice, the quality that Paley saw at the root of her literary and political endeavors. In a 1985 <em>Fresh Air<\/em>\u00a0interview, she told Terry Gross, \u2018When you write, you illuminate what\u2019s hidden, and that\u2019s a political act.\u2019 The remarkable fact is that her fiction, peopled by the politically minded, doesn\u2019t do the things that politically infused writing typically does. It doesn\u2019t preach; it doesn\u2019t demonize or lionize; it doesn\u2019t nobly set out to illustrate a set of beliefs or ideals. Indeed, it often undercuts them with sly self-awareness.\u201d<\/li>\n<\/ul>\n<ul>\n<li>The subject of a beguiling 1966 Alice Neel portrait has finally been identified: she is Ujjaini Khanderia, the daughter of the Indian social-realist novelist Bhabani Bhattacharya, and she has almost no memory of sitting for Neel\u2019s masterpiece. Saudamini Jain talked to her about the experience: \u201c\u00a0<a href=\"https:\/\/scroll.in\/magazine\/835401\/the-indian-woman-who-sat-for-a-notable-american-portrait-in-the-60s-and-forgot-about-it-until-now\" target=\"_blank\">\u2018I was terribly homesick and wanted to go back to India the same day that I landed in New York,\u2019 she said. \u2018I was <em>not<\/em> good company given my depressed and sad state of mind.\u2019<\/a>\u00a0[Millen] Brand took her sightseeing, and they stopped by at his friend Alice Neel\u2019s studio apartment. Khanderia says she agreed to sit for the portrait. \u2018Since I was lonely and homesick, I thought this was a good opportunity to be left alone without having to act friendly\u2019 \u2026 \u2018I just thought she was a local artist,\u2019\u00a0she said. \u2018I thought she was just practicing something.\u2019 She remembers Neel to be friendly and unassuming, engrossed in painting more than talking. She sat for Neel for about seven hours and was pleased by the finished portrait, \u2018But my thoughts were elsewhere\u2014I was more concerned about how I would survive in Ann Arbor where I knew nobody and had no help.\u2019 \u201d<\/li>\n<\/ul>\n<ul>\n<li>Adam Shatz on the best movie about an Algerian abattoir you\u2019ll see this year: \u201c<a href=\"https:\/\/www.lrb.co.uk\/blog\/2017\/04\/20\/adam-shatz\/at-the-slaughterhouses\/?utm_source=LRB+online+email&amp;utm_medium=email&amp;utm_campaign=20170502+online&amp;utm_content=usca_subs\" target=\"_blank\">Hassen Ferhani, a young filmmaker, spent two months inside a slaughterhouse<\/a>. The result is an oddly beautiful film,\u00a0<em>Dans ma t\u00eate un\u00a0rond-point\u00a0<\/em>(\u2018A Roundabout in My Head\u2019) \u2026 In one blackly comic scene, a group of workers struggle to pull a very stubborn cow by a rope just as the Algerian football team scores a goal at the World Cup. But the killing mostly takes place offstage, leaving Ferhani to explore the experiences of the abattoir workers, for whom the slaughterhouse is not only a place of employment, but where they live. The men he interviewed are migrant labourers from rural Algeria. They send meagre remittances to their families, whom they see only a few times a year. Some dream of return to the\u00a0<em>bled<\/em>\u00a0(the countryside); others of escape to Europe.\u201d<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>In today\u2019s roundup: Hollywood\u2019s desultory treatment of a genius Indian filmmaker; Christian mags for teens; Grace Paley in the streets; and more.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2512],"tags":[27704,291,1659,28637,28638,28639,13963,3461,28640,995,269,81,8306,15618,4617,28635,8671,28641,28636],"class_list":["post-110482","post","type-post","status-publish","format-standard","hentry","category-on-the-shelf","tag-activism","tag-algeria","tag-alice-neel","tag-brio","tag-christian-magazines","tag-christian-teens","tag-filmmaking","tag-grace-paley","tag-hassen-ferhani","tag-hollywood","tag-magazines","tag-movies","tag-portraits","tag-portraiture","tag-protest","tag-satyajit-ray","tag-short-fiction","tag-slaughterhouses","tag-the-alien"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>When Hollywood Tried to Con Satyajit Ray<\/title>\n<meta name=\"description\" content=\"In today\u2019s arts and culture news: Hollywood\u2019s desultory treatment of a genius Indian filmmaker; 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