Days and Nights in the Forest | Chicago Reader
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Days and Nights in the Forest

To explain why Days and Nights in the Forest (1970) is a masterpiece is a bit like explaining why flowers are beautiful: the film's glories are so natural and self-evident that describing them feels redundant. One of the airiest of great movies, Days and Nights seems lightweight and plotless—yet it reveals countless insights into its characters, setting, and theme. Along with Aparajito (1956), Charulata (1964), and The Home and the World (1984), it represents the epitome of Ray's talents—his ability to divine universal meaning from observations of local behavior, his nuanced approach to character, the way he makes time's passing seem mellifluous—yet it displays these talents so modestly that you may not recognize them at first. CONTINUE READING

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